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"headTitle": "Jazz, Classical, and More: 10 Picks for Fall in the Bay Area | KQED",
"content": "\u003cp>For jazz and classical lovers, the Bay Area in the fall is hard to beat. In late September, the fine annual tradition of \u003ca href=\"https://www.intermusicsf.org/sfmd\" rel=\"noopener\" target=\"_blank\">SF Music Day\u003c/a>—completely free!—brings dozens of early music, chamber, jazz and avant-garde ensembles to the Herbst Theatre and surrounding venues, while all around the region, new seasons get underway and big names come to town.\u003c/p>\n\u003cp>Here’s a selection of upcoming best bets in jazz and classical. \u003c/p>\n\u003cfigure id=\"attachment_13840040\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/FallArts.Zorn_.CRED_.MacArthurFound-800x533.jpg\" alt=\"John Zorn.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840040\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Zorn_.CRED_.MacArthurFound-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Zorn_.CRED_.MacArthurFound-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Zorn_.CRED_.MacArthurFound-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Zorn_.CRED_.MacArthurFound-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Zorn_.CRED_.MacArthurFound-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Zorn_.CRED_.MacArthurFound.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Zorn_.CRED_.MacArthurFound-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Zorn_.CRED_.MacArthurFound-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Zorn_.CRED_.MacArthurFound-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Zorn_.CRED_.MacArthurFound-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Zorn_.CRED_.MacArthurFound-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Zorn. \u003ccite>(MacArthur Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>John Zorn 65th Birthday Residency\u003c/h2>\n\u003cp>\u003cstrong>The Chapel, San Francisco\u003cbr>\nSept. 1–4, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.thechapelsf.com/calendar\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>The New York iconoclast John Zorn seems only comes to the Bay Area every 10 years or so, but when he does, he brings an army. This residency features the man and his “radical Jewish music” in a variety of settings, including a group with Mr. Bungle’s Mike Patton and Slayer’s Dave Lombardo, and an evening with Laurie Anderson and Terry Riley.\u003c/p>\n\u003cfigure id=\"attachment_13840038\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/FallArts.Cecile.MarkFitton-800x450.jpg\" alt=\"Cecile McLorin Salvant.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13840038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Cecile.MarkFitton-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Cecile.MarkFitton-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Cecile.MarkFitton-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Cecile.MarkFitton-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Cecile.MarkFitton-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Cecile.MarkFitton.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Cecile.MarkFitton-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Cecile.MarkFitton-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Cecile.MarkFitton-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Cecile.MarkFitton-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Cecile.MarkFitton-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecile McLorin Salvant. \u003ccite>(Mark Fitton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Cecile McLorin Salvant\u003c/h2>\n\u003cp>\u003cstrong>SFJAZZ Center, San Francisco\u003cbr>\nSept. 6–9, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.sfjazz.org/tickets/productions/cecile-mclorin-salvant/?gclid=EAIaIQobChMI2Y_UvYWW3QIVhsVkCh23mwPXEAAYASAAEgINH_D_BwE&gclsrc=aw.ds\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Anyone unsure if female jazz vocals are having “a moment” need look no further than their local box office: the Texas-based singer Jazzmeia Horn has already sold out four shows at SFJAZZ, and Cecile McLorin Salvant is in line to do the same. For anyone who’s on a first-name basis with Sarah and Billie, Cecile delivers the goods.\u003c/p>\n\u003cfigure id=\"attachment_13840091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Redman-800x525.jpg\" alt=\"Joshua Redman's 'Still Dreaming' quartet.\" width=\"800\" height=\"525\" class=\"size-medium wp-image-13840091\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Redman.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Redman-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Redman-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Redman-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Redman-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Redman-520x341.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joshua Redman’s ‘Still Dreaming’ quartet. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Joshua Redman: Still Dreaming\u003c/h2>\n\u003cp>\u003cstrong>SFJAZZ Center, San Francisco\u003cbr>\nSept 13–16, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.sfjazz.org/tickets/productions/redman-miles-colley-blade/?gclid=EAIaIQobChMIkZHoy4WW3QIVg2h-Ch0_SgzLEAAYASAAEgJFfPD_BwE&gclsrc=aw.ds\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>As a student in the jazz program at Berkeley High, Joshua Redman began following in the footsteps of his father, the great saxophonist Dewey Redman. The thing was, Joshua didn’t really know his dad that well. Lately, he’s assembled a quartet to explore the music of Dewey Redman’s group New and Old Dreams, and the results are dazzling.\u003c/p>\n\u003cfigure id=\"attachment_13840041\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MaryHalvorsonThumbscrew.CRED_.AmyTouchette-800x502.jpg\" alt=\"Thumbscrew.\" width=\"800\" height=\"502\" class=\"size-medium wp-image-13840041\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MaryHalvorsonThumbscrew.CRED_.AmyTouchette-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MaryHalvorsonThumbscrew.CRED_.AmyTouchette-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MaryHalvorsonThumbscrew.CRED_.AmyTouchette-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MaryHalvorsonThumbscrew.CRED_.AmyTouchette-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MaryHalvorsonThumbscrew.CRED_.AmyTouchette-1200x753.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MaryHalvorsonThumbscrew.CRED_.AmyTouchette.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MaryHalvorsonThumbscrew.CRED_.AmyTouchette-1180x741.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MaryHalvorsonThumbscrew.CRED_.AmyTouchette-960x603.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MaryHalvorsonThumbscrew.CRED_.AmyTouchette-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MaryHalvorsonThumbscrew.CRED_.AmyTouchette-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MaryHalvorsonThumbscrew.CRED_.AmyTouchette-520x326.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thumbscrew. \u003ccite>(Amy Touchette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Thumbscrew (feat. Mary Halvorson)\u003c/h2>\n\u003cp>\u003cstrong>Center for New Music, San Francisco\u003cbr>\nSept. 20, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://centerfornewmusic.com/calendar/\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>Mary Halvorson’s guitar playing is like a long, winding treasure map, where getting lost is half the fun. She appears with her trio Thumbscrew at the Center for New Music, which on any other night laudably gives 100 percent of the door money to the artists. For this fundraiser (at $45, hardly a black-tie gala price tier), the money benefits this worthy venue.\u003c/p>\n\u003cfigure id=\"attachment_13840034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/FallArts.MaxRichter.CREDYul-800x450.jpg\" alt=\"Max Richter.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13840034\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.MaxRichter.CREDYul-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.MaxRichter.CREDYul-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.MaxRichter.CREDYul-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.MaxRichter.CREDYul-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.MaxRichter.CREDYul-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.MaxRichter.CREDYul-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.MaxRichter.CREDYul-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.MaxRichter.CREDYul-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.MaxRichter.CREDYul.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Max Richter. \u003ccite>(Yulia Mahr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Max Richter\u003c/h2>\n\u003cp>\u003cstrong>Zellerbach Hall, Berkeley\u003cbr>\nOct. 5, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://calperformances.org/learn/press-room/press-kits/2018-19/max-richter-with-the-american-contemporary-music-ensemble-performing-infra-and-music-from-the-leftovers.php\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>The world may have lost Icelandic composer Jóhann Jóhannsson this past February, but carrying a similar torch is Max Richter, whose accessible compositions are simultaneously melodic and melancholy. In other words, perfect for a TV drama. At Zellerbach, Richter performs music from his 2004 breakout album, \u003cem>The Blue Notebooks\u003c/em>, and his 2010 album \u003cem>Infra\u003c/em>, inspired by T.S. Eliot’s \u003cem>The Waste Land\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13840036\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/FallArts.SRSymphony-800x519.jpg\" alt=\"Francesco Lecce-Chong.\" width=\"800\" height=\"519\" class=\"size-medium wp-image-13840036\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SRSymphony-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SRSymphony-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SRSymphony-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SRSymphony-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SRSymphony-960x623.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SRSymphony-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SRSymphony-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SRSymphony-520x338.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SRSymphony.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Francesco Lecce-Chong.\u003c/figcaption>\u003c/figure>\n\u003ch2>Francesco Lecce-Chong conducts ‘Passion and Power’\u003c/h2>\n\u003cp>\u003cstrong>Green Music Center, Rohnert Park\u003cbr>\nOct. 6–8, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.srsymphony.org/EventDetail/134\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>Sure, this season at the Santa Rosa Symphony includes some returning faces: namely, conductors emeritus Jeffrey Kahane and Bruno Ferrandis. But it’s all about the new kid on the block: Francesco Lecce-Chong, who starts his first season on the podium with a program including Brahms’ Violin Concerto and Beethoven’s \u003cem>Symphony No. 5\u003c/em> inside the acoustically delightful Green Music Center.\u003c/p>\n\u003cfigure id=\"attachment_13840035\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/FallArts.Iverson.Turner-800x502.jpg\" alt=\"Mark Turner and Ethan Iverson.\" width=\"800\" height=\"502\" class=\"size-medium wp-image-13840035\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Iverson.Turner-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Iverson.Turner-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Iverson.Turner-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Iverson.Turner-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Iverson.Turner-1200x753.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Iverson.Turner.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Iverson.Turner-1180x741.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Iverson.Turner-960x603.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Iverson.Turner-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Iverson.Turner-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Iverson.Turner-520x326.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mark Turner and Ethan Iverson.\u003c/figcaption>\u003c/figure>\n\u003ch2>Ethan Iverson-Mark Turner Duo\u003c/h2>\n\u003cp>\u003cstrong>Kuumbwa Jazz Center, Santa Cruz\u003cbr>\nOct. 11, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.kuumbwajazz.org/calendar/ethan-iverson-mark-turner-duo/\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>Since leaving his longtime trio The Bad Plus, Ethan Iverson has worked in a variety of settings, always with a scholar’s mind for the history of the music. In the Bay Area for a performance of the \u003ca href=\"http://calperformances.org/performances/2018-19/dance/mark-morris-dance-group-pepperland-sgt-pepper-at-50.php\" rel=\"noopener\" target=\"_blank\">choreographed Beatles tribute \u003cem>Pepperland\u003c/em>\u003c/a>, Iverson steals away with the expressive saxophonist Mark Turner in Santa Cruz for a sure-to-please night.\u003c/p>\n\u003cfigure id=\"attachment_13840037\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/FallArts.Arabella.CREDMicha-800x471.jpg\" alt=\"Minnesota Opera's production of 'Arabella.'\" width=\"800\" height=\"471\" class=\"size-medium wp-image-13840037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Arabella.CREDMicha-800x471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Arabella.CREDMicha-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Arabella.CREDMicha-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Arabella.CREDMicha-1020x600.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Arabella.CREDMicha-960x565.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Arabella.CREDMicha-240x141.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Arabella.CREDMicha-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Arabella.CREDMicha-520x306.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Arabella.CREDMicha.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Minnesota Opera’s production of ‘Arabella.’ \u003ccite>(Michal Daniel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Arabella’\u003c/h2>\n\u003cp>\u003cstrong>War Memorial Opera House, San Francisco\u003cbr>\nOct. 16–Nov. 3, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://sfopera.com/1819season/arabella/\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>Most people know Richard Strauss as the composer of Also Sprach Zarathustra, the celestial overture used as the opening of \u003cem>2001: A Space Odyssey\u003c/em>. For his rarely performed opera \u003cem>Arabella\u003c/em>, he brings the themes down to Earth: specifically, sex, love, and money. Freudian undertones and a story set between the Weimar Republic and the Third Reich make for a layered production. \u003c/p>\n\u003cfigure id=\"attachment_13840042\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/FallArts.SVSymph.Daniela-800x450.jpg\" alt=\"Daniela Tabeling.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13840042\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SVSymph.Daniela-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SVSymph.Daniela-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SVSymph.Daniela-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SVSymph.Daniela-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SVSymph.Daniela-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SVSymph.Daniela-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SVSymph.Daniela-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SVSymph.Daniela-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SVSymph.Daniela.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniela Tabeling.\u003c/figcaption>\u003c/figure>\n\u003ch2>Daniela Tabernig sings ‘Four Last Songs’\u003c/h2>\n\u003cp>\u003cstrong>California Theater, San Jose\u003cbr>\nOct. 27–28, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.symphonysiliconvalley.org/concerts.php\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>A run of sold-out concerts by Japanese Studio Ghibli composer Joe Hisaishi during Symphony Silicon Valley’s last season brought an infusion of life and joy to the California Theater; this October, expect a pivot into death. Richard Strauss’ \u003cem>Four Last Songs\u003c/em>, a song cycle on dying, is a rich, moving experience; it’s paired here with Strauss’ \u003cem>Der Rosenkavalier\u003c/em> suite and two early, lesser-performed pieces by Debussy.\u003c/p>\n\u003cfigure id=\"attachment_13826296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Tilson-Thomas-Michael-c-Kristin-Loken-800x534.jpg\" alt=\"Music director Michael Tilson Thomas.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13826296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Tilson-Thomas-Michael-c-Kristin-Loken.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Tilson-Thomas-Michael-c-Kristin-Loken-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Tilson-Thomas-Michael-c-Kristin-Loken-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Tilson-Thomas-Michael-c-Kristin-Loken-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Tilson-Thomas-Michael-c-Kristin-Loken-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Tilson-Thomas-Michael-c-Kristin-Loken-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music director Michael Tilson Thomas. \u003ccite>(Kristin Loken)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>MTT conducts ‘From The Diary of Anne Frank’\u003c/h2>\n\u003cp>\u003cstrong>Davies Symphony Hall, San Francisco\u003cbr>\nNov. 15–18, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2018-19/MTT-From-the-Diary-of-Anne-Frank\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>Welcome to 2018, when the Anne Frank Center finds its posts about the Holocaust \u003ca href=\"https://gizmodo.com/facebook-sorry-for-deleting-holocaust-education-post-ov-1828714854\" rel=\"noopener\" target=\"_blank\">censored by Facebook\u003c/a>, while Holocaust deniers and actual neo-Nazis thrive across social media and find favor in upper levels of government. How the hell did we get here? Conducting the San Francisco Symphony, Michael Tilson Thomas slyly answers with a performance of ‘From The Diary of Anne Frank,’ his own composition; it’s from 1990, but its themes are as relevant as ever.\u003c/p>\n\u003cp>\u003cstrong>Plus more shows of note below:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Omar Sosa\u003c/strong>\u003cbr>\nBlue Note, Napa\u003cbr>\nSept. 6–8, 2018\u003cbr>\n\u003ca href=\"https://www.bluenotenapa.com/event/tw-artistinfo/Omar+Sosa/\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Yo-Yo Ma plays the Complete Bach Cello Suites\u003c/strong>\u003cbr>\nGreek Theater, Berkeley\u003cbr>\nSept. 30, 2018\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2018-19/special-events/yo-yo-ma-cello-the-complete-bach-suites.php\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a> (Note: Sold out at press time)\u003c/p>\n\u003cp>\u003cstrong>John Cage’s Electronic Music for Piano\u003c/strong>\u003cbr>\nThe Lab, San Francisco\u003cbr>\nOct. 6, 2018\u003cbr>\n\u003ca href=\"https://www.thelab.org/projects/2018/7/27/john-cage-electronic-music-for-piano-performed-by-tender-buttons\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Placido Domingo\u003c/strong>\u003cbr>\nWar Memorial Opera House, San Francisco\u003cbr>\nOct. 21, 2018\u003cbr>\n\u003ca href=\"https://sfopera.com/1819season/placido-domingo-in-concert/\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Allison Miller’s Boom Tic Boom\u003c/strong>\u003cbr>\nKuumbwa Jazz Center, Santa Cruz\u003cbr>\nOct. 25, 2018\u003cbr>\n\u003ca href=\"https://www.kuumbwajazz.org/calendar/allison-millers-boom-tic-boom/\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Daniel Barenboim conducts the West Eastern Divan Orchestra\u003c/strong>\u003cbr>\nZellerbach Hall, Berkeley\u003cbr>\nNov. 10, 2018\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2018-19/chamber-orchestra/daniel-barenboim-and-the-west-eastern-divan-orchestra.php\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>John Brothers Piano Co. plays ‘Mingus Plays Piano’\u003c/strong>\u003cbr>\nJoe Henderson Lab, SFJAZZ\u003cbr>\nNov. 16, 2018\u003cbr>\n\u003ca href=\"https://www.sfjazz.org/tickets/productions/john-brothers-piano-co-hotplate/?performanceNumber=11576\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\n",
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"excerpt": "Set your plans with these 17 best bets in the upcoming season.",
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"title": "Jazz, Classical, and More: 10 Picks for Fall in the Bay Area | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For jazz and classical lovers, the Bay Area in the fall is hard to beat. In late September, the fine annual tradition of \u003ca href=\"https://www.intermusicsf.org/sfmd\" rel=\"noopener\" target=\"_blank\">SF Music Day\u003c/a>—completely free!—brings dozens of early music, chamber, jazz and avant-garde ensembles to the Herbst Theatre and surrounding venues, while all around the region, new seasons get underway and big names come to town.\u003c/p>\n\u003cp>Here’s a selection of upcoming best bets in jazz and classical. \u003c/p>\n\u003cfigure id=\"attachment_13840040\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/FallArts.Zorn_.CRED_.MacArthurFound-800x533.jpg\" alt=\"John Zorn.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840040\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Zorn_.CRED_.MacArthurFound-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Zorn_.CRED_.MacArthurFound-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Zorn_.CRED_.MacArthurFound-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Zorn_.CRED_.MacArthurFound-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Zorn_.CRED_.MacArthurFound-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Zorn_.CRED_.MacArthurFound.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Zorn_.CRED_.MacArthurFound-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Zorn_.CRED_.MacArthurFound-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Zorn_.CRED_.MacArthurFound-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Zorn_.CRED_.MacArthurFound-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Zorn_.CRED_.MacArthurFound-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Zorn. \u003ccite>(MacArthur Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>John Zorn 65th Birthday Residency\u003c/h2>\n\u003cp>\u003cstrong>The Chapel, San Francisco\u003cbr>\nSept. 1–4, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.thechapelsf.com/calendar\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>The New York iconoclast John Zorn seems only comes to the Bay Area every 10 years or so, but when he does, he brings an army. This residency features the man and his “radical Jewish music” in a variety of settings, including a group with Mr. Bungle’s Mike Patton and Slayer’s Dave Lombardo, and an evening with Laurie Anderson and Terry Riley.\u003c/p>\n\u003cfigure id=\"attachment_13840038\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/FallArts.Cecile.MarkFitton-800x450.jpg\" alt=\"Cecile McLorin Salvant.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13840038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Cecile.MarkFitton-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Cecile.MarkFitton-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Cecile.MarkFitton-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Cecile.MarkFitton-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Cecile.MarkFitton-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Cecile.MarkFitton.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Cecile.MarkFitton-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Cecile.MarkFitton-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Cecile.MarkFitton-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Cecile.MarkFitton-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Cecile.MarkFitton-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecile McLorin Salvant. \u003ccite>(Mark Fitton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Cecile McLorin Salvant\u003c/h2>\n\u003cp>\u003cstrong>SFJAZZ Center, San Francisco\u003cbr>\nSept. 6–9, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.sfjazz.org/tickets/productions/cecile-mclorin-salvant/?gclid=EAIaIQobChMI2Y_UvYWW3QIVhsVkCh23mwPXEAAYASAAEgINH_D_BwE&gclsrc=aw.ds\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Anyone unsure if female jazz vocals are having “a moment” need look no further than their local box office: the Texas-based singer Jazzmeia Horn has already sold out four shows at SFJAZZ, and Cecile McLorin Salvant is in line to do the same. For anyone who’s on a first-name basis with Sarah and Billie, Cecile delivers the goods.\u003c/p>\n\u003cfigure id=\"attachment_13840091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Redman-800x525.jpg\" alt=\"Joshua Redman's 'Still Dreaming' quartet.\" width=\"800\" height=\"525\" class=\"size-medium wp-image-13840091\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Redman.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Redman-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Redman-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Redman-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Redman-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Redman-520x341.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joshua Redman’s ‘Still Dreaming’ quartet. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Joshua Redman: Still Dreaming\u003c/h2>\n\u003cp>\u003cstrong>SFJAZZ Center, San Francisco\u003cbr>\nSept 13–16, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.sfjazz.org/tickets/productions/redman-miles-colley-blade/?gclid=EAIaIQobChMIkZHoy4WW3QIVg2h-Ch0_SgzLEAAYASAAEgJFfPD_BwE&gclsrc=aw.ds\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>As a student in the jazz program at Berkeley High, Joshua Redman began following in the footsteps of his father, the great saxophonist Dewey Redman. The thing was, Joshua didn’t really know his dad that well. Lately, he’s assembled a quartet to explore the music of Dewey Redman’s group New and Old Dreams, and the results are dazzling.\u003c/p>\n\u003cfigure id=\"attachment_13840041\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MaryHalvorsonThumbscrew.CRED_.AmyTouchette-800x502.jpg\" alt=\"Thumbscrew.\" width=\"800\" height=\"502\" class=\"size-medium wp-image-13840041\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MaryHalvorsonThumbscrew.CRED_.AmyTouchette-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MaryHalvorsonThumbscrew.CRED_.AmyTouchette-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MaryHalvorsonThumbscrew.CRED_.AmyTouchette-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MaryHalvorsonThumbscrew.CRED_.AmyTouchette-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MaryHalvorsonThumbscrew.CRED_.AmyTouchette-1200x753.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MaryHalvorsonThumbscrew.CRED_.AmyTouchette.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MaryHalvorsonThumbscrew.CRED_.AmyTouchette-1180x741.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MaryHalvorsonThumbscrew.CRED_.AmyTouchette-960x603.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MaryHalvorsonThumbscrew.CRED_.AmyTouchette-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MaryHalvorsonThumbscrew.CRED_.AmyTouchette-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MaryHalvorsonThumbscrew.CRED_.AmyTouchette-520x326.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thumbscrew. \u003ccite>(Amy Touchette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Thumbscrew (feat. Mary Halvorson)\u003c/h2>\n\u003cp>\u003cstrong>Center for New Music, San Francisco\u003cbr>\nSept. 20, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://centerfornewmusic.com/calendar/\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>Mary Halvorson’s guitar playing is like a long, winding treasure map, where getting lost is half the fun. She appears with her trio Thumbscrew at the Center for New Music, which on any other night laudably gives 100 percent of the door money to the artists. For this fundraiser (at $45, hardly a black-tie gala price tier), the money benefits this worthy venue.\u003c/p>\n\u003cfigure id=\"attachment_13840034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/FallArts.MaxRichter.CREDYul-800x450.jpg\" alt=\"Max Richter.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13840034\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.MaxRichter.CREDYul-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.MaxRichter.CREDYul-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.MaxRichter.CREDYul-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.MaxRichter.CREDYul-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.MaxRichter.CREDYul-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.MaxRichter.CREDYul-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.MaxRichter.CREDYul-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.MaxRichter.CREDYul-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.MaxRichter.CREDYul.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Max Richter. \u003ccite>(Yulia Mahr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Max Richter\u003c/h2>\n\u003cp>\u003cstrong>Zellerbach Hall, Berkeley\u003cbr>\nOct. 5, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"http://calperformances.org/learn/press-room/press-kits/2018-19/max-richter-with-the-american-contemporary-music-ensemble-performing-infra-and-music-from-the-leftovers.php\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>The world may have lost Icelandic composer Jóhann Jóhannsson this past February, but carrying a similar torch is Max Richter, whose accessible compositions are simultaneously melodic and melancholy. In other words, perfect for a TV drama. At Zellerbach, Richter performs music from his 2004 breakout album, \u003cem>The Blue Notebooks\u003c/em>, and his 2010 album \u003cem>Infra\u003c/em>, inspired by T.S. Eliot’s \u003cem>The Waste Land\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13840036\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/FallArts.SRSymphony-800x519.jpg\" alt=\"Francesco Lecce-Chong.\" width=\"800\" height=\"519\" class=\"size-medium wp-image-13840036\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SRSymphony-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SRSymphony-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SRSymphony-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SRSymphony-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SRSymphony-960x623.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SRSymphony-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SRSymphony-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SRSymphony-520x338.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SRSymphony.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Francesco Lecce-Chong.\u003c/figcaption>\u003c/figure>\n\u003ch2>Francesco Lecce-Chong conducts ‘Passion and Power’\u003c/h2>\n\u003cp>\u003cstrong>Green Music Center, Rohnert Park\u003cbr>\nOct. 6–8, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.srsymphony.org/EventDetail/134\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>Sure, this season at the Santa Rosa Symphony includes some returning faces: namely, conductors emeritus Jeffrey Kahane and Bruno Ferrandis. But it’s all about the new kid on the block: Francesco Lecce-Chong, who starts his first season on the podium with a program including Brahms’ Violin Concerto and Beethoven’s \u003cem>Symphony No. 5\u003c/em> inside the acoustically delightful Green Music Center.\u003c/p>\n\u003cfigure id=\"attachment_13840035\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/FallArts.Iverson.Turner-800x502.jpg\" alt=\"Mark Turner and Ethan Iverson.\" width=\"800\" height=\"502\" class=\"size-medium wp-image-13840035\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Iverson.Turner-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Iverson.Turner-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Iverson.Turner-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Iverson.Turner-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Iverson.Turner-1200x753.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Iverson.Turner.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Iverson.Turner-1180x741.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Iverson.Turner-960x603.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Iverson.Turner-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Iverson.Turner-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Iverson.Turner-520x326.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mark Turner and Ethan Iverson.\u003c/figcaption>\u003c/figure>\n\u003ch2>Ethan Iverson-Mark Turner Duo\u003c/h2>\n\u003cp>\u003cstrong>Kuumbwa Jazz Center, Santa Cruz\u003cbr>\nOct. 11, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.kuumbwajazz.org/calendar/ethan-iverson-mark-turner-duo/\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>Since leaving his longtime trio The Bad Plus, Ethan Iverson has worked in a variety of settings, always with a scholar’s mind for the history of the music. In the Bay Area for a performance of the \u003ca href=\"http://calperformances.org/performances/2018-19/dance/mark-morris-dance-group-pepperland-sgt-pepper-at-50.php\" rel=\"noopener\" target=\"_blank\">choreographed Beatles tribute \u003cem>Pepperland\u003c/em>\u003c/a>, Iverson steals away with the expressive saxophonist Mark Turner in Santa Cruz for a sure-to-please night.\u003c/p>\n\u003cfigure id=\"attachment_13840037\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/FallArts.Arabella.CREDMicha-800x471.jpg\" alt=\"Minnesota Opera's production of 'Arabella.'\" width=\"800\" height=\"471\" class=\"size-medium wp-image-13840037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Arabella.CREDMicha-800x471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Arabella.CREDMicha-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Arabella.CREDMicha-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Arabella.CREDMicha-1020x600.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Arabella.CREDMicha-960x565.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Arabella.CREDMicha-240x141.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Arabella.CREDMicha-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Arabella.CREDMicha-520x306.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.Arabella.CREDMicha.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Minnesota Opera’s production of ‘Arabella.’ \u003ccite>(Michal Daniel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Arabella’\u003c/h2>\n\u003cp>\u003cstrong>War Memorial Opera House, San Francisco\u003cbr>\nOct. 16–Nov. 3, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://sfopera.com/1819season/arabella/\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>Most people know Richard Strauss as the composer of Also Sprach Zarathustra, the celestial overture used as the opening of \u003cem>2001: A Space Odyssey\u003c/em>. For his rarely performed opera \u003cem>Arabella\u003c/em>, he brings the themes down to Earth: specifically, sex, love, and money. Freudian undertones and a story set between the Weimar Republic and the Third Reich make for a layered production. \u003c/p>\n\u003cfigure id=\"attachment_13840042\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/FallArts.SVSymph.Daniela-800x450.jpg\" alt=\"Daniela Tabeling.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13840042\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SVSymph.Daniela-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SVSymph.Daniela-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SVSymph.Daniela-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SVSymph.Daniela-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SVSymph.Daniela-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SVSymph.Daniela-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SVSymph.Daniela-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SVSymph.Daniela-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/FallArts.SVSymph.Daniela.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniela Tabeling.\u003c/figcaption>\u003c/figure>\n\u003ch2>Daniela Tabernig sings ‘Four Last Songs’\u003c/h2>\n\u003cp>\u003cstrong>California Theater, San Jose\u003cbr>\nOct. 27–28, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.symphonysiliconvalley.org/concerts.php\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>A run of sold-out concerts by Japanese Studio Ghibli composer Joe Hisaishi during Symphony Silicon Valley’s last season brought an infusion of life and joy to the California Theater; this October, expect a pivot into death. Richard Strauss’ \u003cem>Four Last Songs\u003c/em>, a song cycle on dying, is a rich, moving experience; it’s paired here with Strauss’ \u003cem>Der Rosenkavalier\u003c/em> suite and two early, lesser-performed pieces by Debussy.\u003c/p>\n\u003cfigure id=\"attachment_13826296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Tilson-Thomas-Michael-c-Kristin-Loken-800x534.jpg\" alt=\"Music director Michael Tilson Thomas.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13826296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Tilson-Thomas-Michael-c-Kristin-Loken.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Tilson-Thomas-Michael-c-Kristin-Loken-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Tilson-Thomas-Michael-c-Kristin-Loken-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Tilson-Thomas-Michael-c-Kristin-Loken-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Tilson-Thomas-Michael-c-Kristin-Loken-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Tilson-Thomas-Michael-c-Kristin-Loken-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music director Michael Tilson Thomas. \u003ccite>(Kristin Loken)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>MTT conducts ‘From The Diary of Anne Frank’\u003c/h2>\n\u003cp>\u003cstrong>Davies Symphony Hall, San Francisco\u003cbr>\nNov. 15–18, 2018\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2018-19/MTT-From-the-Diary-of-Anne-Frank\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>Welcome to 2018, when the Anne Frank Center finds its posts about the Holocaust \u003ca href=\"https://gizmodo.com/facebook-sorry-for-deleting-holocaust-education-post-ov-1828714854\" rel=\"noopener\" target=\"_blank\">censored by Facebook\u003c/a>, while Holocaust deniers and actual neo-Nazis thrive across social media and find favor in upper levels of government. How the hell did we get here? Conducting the San Francisco Symphony, Michael Tilson Thomas slyly answers with a performance of ‘From The Diary of Anne Frank,’ his own composition; it’s from 1990, but its themes are as relevant as ever.\u003c/p>\n\u003cp>\u003cstrong>Plus more shows of note below:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Omar Sosa\u003c/strong>\u003cbr>\nBlue Note, Napa\u003cbr>\nSept. 6–8, 2018\u003cbr>\n\u003ca href=\"https://www.bluenotenapa.com/event/tw-artistinfo/Omar+Sosa/\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Yo-Yo Ma plays the Complete Bach Cello Suites\u003c/strong>\u003cbr>\nGreek Theater, Berkeley\u003cbr>\nSept. 30, 2018\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2018-19/special-events/yo-yo-ma-cello-the-complete-bach-suites.php\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a> (Note: Sold out at press time)\u003c/p>\n\u003cp>\u003cstrong>John Cage’s Electronic Music for Piano\u003c/strong>\u003cbr>\nThe Lab, San Francisco\u003cbr>\nOct. 6, 2018\u003cbr>\n\u003ca href=\"https://www.thelab.org/projects/2018/7/27/john-cage-electronic-music-for-piano-performed-by-tender-buttons\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Placido Domingo\u003c/strong>\u003cbr>\nWar Memorial Opera House, San Francisco\u003cbr>\nOct. 21, 2018\u003cbr>\n\u003ca href=\"https://sfopera.com/1819season/placido-domingo-in-concert/\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Allison Miller’s Boom Tic Boom\u003c/strong>\u003cbr>\nKuumbwa Jazz Center, Santa Cruz\u003cbr>\nOct. 25, 2018\u003cbr>\n\u003ca href=\"https://www.kuumbwajazz.org/calendar/allison-millers-boom-tic-boom/\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Daniel Barenboim conducts the West Eastern Divan Orchestra\u003c/strong>\u003cbr>\nZellerbach Hall, Berkeley\u003cbr>\nNov. 10, 2018\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2018-19/chamber-orchestra/daniel-barenboim-and-the-west-eastern-divan-orchestra.php\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>John Brothers Piano Co. plays ‘Mingus Plays Piano’\u003c/strong>\u003cbr>\nJoe Henderson Lab, SFJAZZ\u003cbr>\nNov. 16, 2018\u003cbr>\n\u003ca href=\"https://www.sfjazz.org/tickets/productions/john-brothers-piano-co-hotplate/?performanceNumber=11576\" rel=\"noopener\" target=\"_blank\">Details Here\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Revered Drummer Brian Blade Draws a Through-Line from Jazz to Gospel",
"headTitle": "Revered Drummer Brian Blade Draws a Through-Line from Jazz to Gospel | KQED",
"content": "\u003cp>Thanks to his greatest mentor, Brian Blade has learned to never stop exploring.\u003c/p>\n\u003cp>As he tells KQED Arts over the phone from his home in Shreveport, Louisiana, that man is his father, Brady L. Blade, Sr., who’s been pastor at Zion Baptist Church in his hometown for more than 50 years.\u003c/p>\n\u003cp>“He’s been reading the same Scriptures for 75 years now, and he’s still digging,” he emphasizes, slowing his phrasing to carefully tend to each syllable, “still looking to share this parable in another way to make it resonate with someone who’s there listening.”\u003c/p>\n\u003cp>“I carry that with me,” he says. “I hope that I have just a bit of his dedication.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oanAeie_Tag\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Blade is likely best known for his role supporting saxophone legend Wayne Shorter in his current quartet, a post he’s held for the past 17 years. Shorter’s band is revered in the jazz realm for their near-telepathic connection to one another, building to electric crescendos from a blank musical slate. But this week, when he appears at SFJAZZ’s Miner Auditorium as part of the \u003ca href=\"https://www.sfjazz.org/calendar/?month=6.2018\" target=\"_blank\" rel=\"noopener\">36th annual San Francisco Jazz Festival\u003c/a>, Blade presents a more folkloric side of his musical mind.\u003c/p>\n\u003cp>On June 12, Blade leads the Fellowship, a group he fronts with composer and pianist Jon Cowherd, with whom he started writing music at Loyola University in 1988. The ensemble also features Myron Walden on alto saxophone and bass clarinet, Melvin Butler on soprano and tenor saxophones, Chris Thomas on bass and Kurt Rosenwinkel on guitar. The Fellowship’s career spans two decades and five gorgeous gospel-infused albums, each one a celebration of, and testament to, the deep sense of unity and intention that marks the Fellowship’s approach.\u003c/p>\n\u003cp>Compared to the tightly-wound tension and release present in his work with Shorter, which at times can build to a \u003ca href=\"https://www.youtube.com/watch?v=kJx0fryrcUo\">violent, cathartic intensity\u003c/a>, Blade’s music with the Fellowship may feel subdued. But this is by choice—their focus as an ensemble has long been cultivating a synchronized collective performance as opposed to highlighting virtuoso soloists, an outgrowth of what Blade refers to as a “fraternal unity” within the group.\u003c/p>\n\u003cp>“One of the many things I love about the band and our collective voice is that we all have reverence for the pure melodic content of a song, of storytelling, of that simplicity,” Blade shares. “It takes a great discipline and focus and submission to find your part, even if that part means not playing.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6qwv2f5m0xM\u003c/p>\n\u003cp>Before the group’s self-titled debut in 1998, Blade was well on his way toward building a highly successful career as a session musician, drumming on tour and in the studio with jazz’s rising talents and even some icons of rock and roots music. By that time, he had already worked with Bob Dylan, Emmylou Harris and Joshua Redman, and had just started collaborating with Joni Mitchell, one of his musical heroes. Yet he says he still felt an “unction,” an incessant desire to share his own musical voice with the world.\u003c/p>\n\u003cp>There’s an ecstatic revelation to the Fellowship’s music, and a depth that emerges in time from what, on the surface, sounds simple. Blade admits that jazz may be the pronounced through-line in the music, but the sonic textures also reveal shades of country, folk and gospel, the latter a natural outgrowth from his formative years playing drums in Zion Baptist’s worship band.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Take the three versions of the title track of the group’s latest, \u003cem>Body and Shadow\u003c/em>, released late last year. Demarcated by time—morning, noon and night—the underlying melody may sound similar in all three versions, but the essence is quite different in each short, impressionistic take. Blade likens the approach to staring out the same window as the day passes, an act that seems static until one examines the changes in their surroundings. “You realize we’re turning on this axis,” he says. “We’re in this massive universe and things are moving and we don’t even perceive it necessarily.” \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Similarly, there are two versions of the spiritual “Have Thine Own Way, Lord,” with Cowherd’s solo performance on harmonium providing a bittersweet reading that turns triumphant in the full band’s hands.\u003c/span>\u003c/p>\n\u003cp>With each subsequent project, the Fellowship seems more content to explore the nuances of a composition rather than continually revisit the “improvisation chasm” present in instrumental jazz, when a soloist steps into the spotlight to improvise while the rest of the band follows their musical lead. There’s a definite power present in their restraint.\u003c/p>\n\u003cp>“Obviously, the improvisation chasm that we can all step into is also something I love, but at the same time, I love striking the balance between playing what you want and playing what’s there, and only that,” says Blade.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w26SF8kwEKg\u003c/p>\n\u003cp>Dedication comes up plenty in interviews with Blade, albeit in a selfless sense. He speaks of notions like surrendering to the moment, or finding the best avenue to “serve the song” in a given musical context. It’s a mindset he soaked up during those early days in church ensemble from people like organist Colette Murdoc, music director Donnell Hickman and his older brother Brady, Jr., whose drum seat Brian stepped into at age 13.\u003c/p>\n\u003cp>“They gave it all, so perfectly and beautifully and powerfully, to the worship, to the praise and to the music that they were responsible for. Anything less would be—” he trails off, catching himself with a playful laugh. “How can you not give it all? How can you not actually feel good about that?”\u003c/p>\n\u003cp>Blade’s followed their example quite well in the years since. It’s rare to see him playing without a grin on his face, no matter the musical context.\u003c/p>\n\u003cfigure id=\"attachment_13834496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834496\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-800x500.jpg\" alt=\"Brian Blade and the Fellowship perform at SFJAZZ in 2016.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian Blade and the Fellowship perform at SFJAZZ in 2016. \u003ccite>(Grason Littles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked if the rest of the Fellowship feels a similar same sense of purpose and musical responsibility when performing, he says, “I think so. I would hope so. I feel like each of us individually has our own sort of desire in life, like you feel this calling to do what we’re doing, and the desire to not take that lightly but to cultivate and make it so that that oneness is revealed in the sound.\u003c/p>\n\u003cp>“When there’s that sort of sharing, and singular mindedness when it comes to being a part of a group, then I think the music can really become that cosmic healing chemical,” he adds. “Then the alchemy is like ‘Oh, yeah. This is medicine. This is what we needed.'”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Brian Blade and the Fellowship perform Tuesday, June 12, at the SFJAZZ Center. \u003ca href=\"https://www.sfjazz.org/tickets/productions/brian-blade-fellowship/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thanks to his greatest mentor, Brian Blade has learned to never stop exploring.\u003c/p>\n\u003cp>As he tells KQED Arts over the phone from his home in Shreveport, Louisiana, that man is his father, Brady L. Blade, Sr., who’s been pastor at Zion Baptist Church in his hometown for more than 50 years.\u003c/p>\n\u003cp>“He’s been reading the same Scriptures for 75 years now, and he’s still digging,” he emphasizes, slowing his phrasing to carefully tend to each syllable, “still looking to share this parable in another way to make it resonate with someone who’s there listening.”\u003c/p>\n\u003cp>“I carry that with me,” he says. “I hope that I have just a bit of his dedication.”\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/oanAeie_Tag'\n title='//www.youtube.com/embed/oanAeie_Tag'\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>Blade is likely best known for his role supporting saxophone legend Wayne Shorter in his current quartet, a post he’s held for the past 17 years. Shorter’s band is revered in the jazz realm for their near-telepathic connection to one another, building to electric crescendos from a blank musical slate. But this week, when he appears at SFJAZZ’s Miner Auditorium as part of the \u003ca href=\"https://www.sfjazz.org/calendar/?month=6.2018\" target=\"_blank\" rel=\"noopener\">36th annual San Francisco Jazz Festival\u003c/a>, Blade presents a more folkloric side of his musical mind.\u003c/p>\n\u003cp>On June 12, Blade leads the Fellowship, a group he fronts with composer and pianist Jon Cowherd, with whom he started writing music at Loyola University in 1988. The ensemble also features Myron Walden on alto saxophone and bass clarinet, Melvin Butler on soprano and tenor saxophones, Chris Thomas on bass and Kurt Rosenwinkel on guitar. The Fellowship’s career spans two decades and five gorgeous gospel-infused albums, each one a celebration of, and testament to, the deep sense of unity and intention that marks the Fellowship’s approach.\u003c/p>\n\u003cp>Compared to the tightly-wound tension and release present in his work with Shorter, which at times can build to a \u003ca href=\"https://www.youtube.com/watch?v=kJx0fryrcUo\">violent, cathartic intensity\u003c/a>, Blade’s music with the Fellowship may feel subdued. But this is by choice—their focus as an ensemble has long been cultivating a synchronized collective performance as opposed to highlighting virtuoso soloists, an outgrowth of what Blade refers to as a “fraternal unity” within the group.\u003c/p>\n\u003cp>“One of the many things I love about the band and our collective voice is that we all have reverence for the pure melodic content of a song, of storytelling, of that simplicity,” Blade shares. “It takes a great discipline and focus and submission to find your part, even if that part means not playing.”\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/6qwv2f5m0xM'\n title='//www.youtube.com/embed/6qwv2f5m0xM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before the group’s self-titled debut in 1998, Blade was well on his way toward building a highly successful career as a session musician, drumming on tour and in the studio with jazz’s rising talents and even some icons of rock and roots music. By that time, he had already worked with Bob Dylan, Emmylou Harris and Joshua Redman, and had just started collaborating with Joni Mitchell, one of his musical heroes. Yet he says he still felt an “unction,” an incessant desire to share his own musical voice with the world.\u003c/p>\n\u003cp>There’s an ecstatic revelation to the Fellowship’s music, and a depth that emerges in time from what, on the surface, sounds simple. Blade admits that jazz may be the pronounced through-line in the music, but the sonic textures also reveal shades of country, folk and gospel, the latter a natural outgrowth from his formative years playing drums in Zion Baptist’s worship band.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Take the three versions of the title track of the group’s latest, \u003cem>Body and Shadow\u003c/em>, released late last year. Demarcated by time—morning, noon and night—the underlying melody may sound similar in all three versions, but the essence is quite different in each short, impressionistic take. Blade likens the approach to staring out the same window as the day passes, an act that seems static until one examines the changes in their surroundings. “You realize we’re turning on this axis,” he says. “We’re in this massive universe and things are moving and we don’t even perceive it necessarily.” \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Similarly, there are two versions of the spiritual “Have Thine Own Way, Lord,” with Cowherd’s solo performance on harmonium providing a bittersweet reading that turns triumphant in the full band’s hands.\u003c/span>\u003c/p>\n\u003cp>With each subsequent project, the Fellowship seems more content to explore the nuances of a composition rather than continually revisit the “improvisation chasm” present in instrumental jazz, when a soloist steps into the spotlight to improvise while the rest of the band follows their musical lead. There’s a definite power present in their restraint.\u003c/p>\n\u003cp>“Obviously, the improvisation chasm that we can all step into is also something I love, but at the same time, I love striking the balance between playing what you want and playing what’s there, and only that,” says Blade.\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/w26SF8kwEKg'\n title='//www.youtube.com/embed/w26SF8kwEKg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dedication comes up plenty in interviews with Blade, albeit in a selfless sense. He speaks of notions like surrendering to the moment, or finding the best avenue to “serve the song” in a given musical context. It’s a mindset he soaked up during those early days in church ensemble from people like organist Colette Murdoc, music director Donnell Hickman and his older brother Brady, Jr., whose drum seat Brian stepped into at age 13.\u003c/p>\n\u003cp>“They gave it all, so perfectly and beautifully and powerfully, to the worship, to the praise and to the music that they were responsible for. Anything less would be—” he trails off, catching himself with a playful laugh. “How can you not give it all? How can you not actually feel good about that?”\u003c/p>\n\u003cp>Blade’s followed their example quite well in the years since. It’s rare to see him playing without a grin on his face, no matter the musical context.\u003c/p>\n\u003cfigure id=\"attachment_13834496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834496\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-800x500.jpg\" alt=\"Brian Blade and the Fellowship perform at SFJAZZ in 2016.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian Blade and the Fellowship perform at SFJAZZ in 2016. \u003ccite>(Grason Littles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked if the rest of the Fellowship feels a similar same sense of purpose and musical responsibility when performing, he says, “I think so. I would hope so. I feel like each of us individually has our own sort of desire in life, like you feel this calling to do what we’re doing, and the desire to not take that lightly but to cultivate and make it so that that oneness is revealed in the sound.\u003c/p>\n\u003cp>“When there’s that sort of sharing, and singular mindedness when it comes to being a part of a group, then I think the music can really become that cosmic healing chemical,” he adds. “Then the alchemy is like ‘Oh, yeah. This is medicine. This is what we needed.'”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>How many pianists from the golden era of jazz are still alive—and still selling out concert halls? \u003c/p>\n\u003cp>There may be just one: Ahmad Jamal, who, now that Sonny Rollins has retired from performing, is one of the last giants of the 1950s jazz scene still on the road. And he’s always so inventive. If I see one of his records in the bin that I’ve never seen before, I usually give it a shot. Maybe it’ll be his bouncy bop style from the ’50s, or a swampy electric piano from the ’70s—but he consistently draws me in to his ideas. (A personal favorite? \u003cem>At the Pershing\u003c/em>.)\u003c/p>\n\u003cp>Jamal took a break from performing these past few years, but he obviously couldn’t stay away for long. He returns to the stage on Wednesday, June 6, at Davies Symphony Hall in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/ahmad-jamal/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Singer José James is hitting the road with a new tour dedicated to the music of Bill Withers, who’s turning 80 years old July 4. James is a terrific jazz and pop singer with a very warm tone which captures the sincerity, deep feeling, and honest sentiment Withers infused into his songs.\u003c/p>\n\u003cp>\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/x80tq7lTlc4'\n title='//www.youtube.com/embed/x80tq7lTlc4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>José James celebrates the music of Bill Withers in a concert at Kuumbwa Jazz in Santa Cruz May 10 and SFJAZZ on May 11. James also performs twice in one night, May 12, at Cafe Stritch in San Jose; the second performance includes a DJ dance set. \u003ca href=\"http://www.josejamesmusic.com/#/tour\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On a recent morning at Westlake Middle School in Oakland, longtime band teacher Randy Porter keeps a friendly demeanor while wrangling his students’ attention. “Turn to page 17,” he says, projecting over a cacophony of sixth graders messing with their flutes, clarinets, trumpets and saxophones. “Here’s the thing: with a little bit of focus, you could get \u003cem>every\u003c/em> line sounding that good. I know you could. Or actually, even better!”\u003c/p>\n\u003cp>Porter’s encouragement gets a boost in his next class, for seventh and eighth grade advanced band students, when local trumpet player Christopher Clarke joins him. Clarke is a teaching artist who’s here thanks to San Francisco nonprofit \u003ca href=\"https://www.sfjazz.org/education/schools-and-partnerships/\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>‘s program Jazz in Session, which brings professional musicians into classrooms to work one-on-one with students. As Porter leads the class through a 12-bar blues composition, Clarke brings three trumpet players into a glass-paneled practice room for a special session.\u003c/p>\n\u003cfigure id=\"attachment_13831113\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/sfjazz1-800x535.jpg\" alt=\"Band teacher Randy Porter and visiting artist Christopher Clarke, who teaches at Westlake Middle School thanks to SFJAZZ' Jazz in Session initiative. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Band teacher Randy Porter and visiting artist Christopher Clarke, who teaches at Westlake Middle School thanks to SFJAZZ’s Jazz in Session initiative. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Clarke here, the atmosphere changes; the students seem more engaged, and Porter seems relieved. “I feel like the biggest part of my job is psychologist. I gotta teach music, but there’s a lot more,” Porter says when he gets a moment to break away from his class. “More than half of our students come from a traumatic home life.”\u003c/p>\n\u003cp>SFJAZZ has had a presence in San Francisco public schools since 1984, but this year marks its major expansion into Oakland, with the goal of reaching all of the city’s middle schools. Along with fellow San Francisco nonprofit Women’s Audio Mission — which opened an Oakland location for its middle school after-school program this school year — SFJAZZ joins several Oakland music nonprofits, including Oaktown Jazz and Oakland Public Conservatory, in bolstering underfunded music programs in the Oakland Unified School District.\u003c/p>\n\u003ch3>Tackling Music Education from Multiple Fronts\u003c/h3>\n\u003cp>Last fall, SFJAZZ introduced Jazz in Session — where teaching artists like Clarke visit music classrooms — to three Oakland middle Schools: Westlake, Montera and Edna Brewer. In the coming 2018-19 school year, SFJAZZ plans to implement two more education programs in Oakland: one of them, School Day Concerts, will bring musicians like bassist Marcus Shelby and Latin jazz ensemble La Mixta Criolla to perform for assemblies at 15 different schools.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At two to three more middle schools, SFJAZZ is planning another program, Jazz in the Middle, which integrates a jazz curriculum into existing language arts and social studies classes at schools that don’t have band periods. (SFJAZZ has yet to announce the names of the beneficiary schools of both programs.)\u003c/p>\n\u003cfigure id=\"attachment_13831114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831114\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/sfjazz2-800x535.jpg\" alt=\"Beginning band class at Westlake Middle School.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beginning band class at Westlake Middle School. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFJAZZ Director of Education Rebecca Mauleón says she hopes SFJAZZ’s efforts will bolster the arts in the low-income school district, which has about \u003ca href=\"http://www.ofcy.org/assets/Strategic-Plan/Strategic-Plan-2016-2019-Appendix-A-Oakland-Youth-Demographic-Profile.pdf\" target=\"_blank\" rel=\"noopener\">a third of students\u003c/a> living below the poverty line. The primary aim is to contribute to students’ over all academic success, not necessarily to put them on a direct path to professional musicianship.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">The arts are necessary skill-building tools that are part of critical thinking, collaborative learning and, in many cases, the types of job opportunities they’ll have in the future that haven’t been invented yet,” Mauleón says.\u003c/span>\u003c/p>\n\u003cp>SFJAZZ’ goal is to bring consistency to OUSD’s music programs at a time when the district faces a major \u003ca href=\"https://www.eastbaytimes.com/2017/12/14/oakland-unified-school-board-approves-9-million-in-mid-year-cuts/\" target=\"_blank\" rel=\"noopener\">budget crisis\u003c/a>. According to the\u003ca href=\"http://www.randstatestats.org/ca/stats/per-pupil-spending-(ca-only).html\" target=\"_blank\" rel=\"noopener\"> latest available data\u003c/a> from the Rand Corporation, Oakland Unified School District (OUSD) spent $13,813 per student during the 2016-17 school year. (In comparison, across the Bay in affluent Palo Alto, the school district spent $17,941 — over $4,000 more — per student.) Moreover, in December 2017, OUSD approved $9 million in mid-year budget cuts, nixing dozens of non-teaching staff positions and reducing budgets for supplies, teacher benefits and other areas.\u003c/p>\n\u003cp>Fillmore Rydeen, the manager of visual and performing arts at OUSD, says OUSD hasn’t laid off any music teachers in years, but admitted that there have been operational cuts to music:\u003cspan style=\"font-weight: 400\"> “Money we’d use to purchase instruments, supplies and things like that; repair equipment,” he says.\u003c/span>\u003c/p>\n\u003cp>Like \u003ca href=\"https://www.kqed.org/news/10897918/parents-and-administrators-in-oakland-battle-over-middle-schools-future\" target=\"_blank\" rel=\"noopener\">several other teachers at Westlake\u003c/a>, Porter maintains that traditional public schools have \u003ca href=\"https://www.eastbaytimes.com/2017/12/08/what-led-to-oakland-unifieds-budget-crisis/\" target=\"_blank\" rel=\"noopener\">taken a major hit\u003c/a> over the past decade as a result of the charter school movement. Charter schools attract high-achieving students from well-off families out of public schools like Westlake, he says, leaving students from low-income families behind.\u003c/p>\n\u003cp>In 2013, Westlake had 747 students. Porter says that number is now closer to 360. Because schools get funding based on average daily attendance, they’ve lost many resources. The principal cancelled Porter’s before-school jazz band period because of low enrollment, for instance, which cut the time he gets with his advanced students in half.\u003c/p>\n\u003cp>“We have this new era of segregation in Oakland schools,” he says.\u003c/p>\n\u003cp>At Westlake, teachers are stretched thin, Porter explains, which is why non-profit programs that send in teaching artists like Clarke can be a huge boon: “There are so many kids that have so many needs in a community like this that to be really successful is not a one-person job.”\u003c/p>\n\u003ch3>Focusing on Under-Resourced Schools\u003c/h3>\n\u003cp>Like SFJAZZ, the San Francisco-based Women’s Audio Mission (WAM) is also seeking to deepen its relationship with Oakland schools. The nonprofit has offered after-school programs on site at Oakland schools for nearly seven years, and it opened its first Oakland facility in the Fruitvale district at the start of the 2017-2018 school year.\u003c/p>\n\u003cp>“We’ve had next-to-no capacity to offer audio engineering course work for our middle school students, so having someone like Women’s Audio Mission is something that’s really critical and fills a variety of different roles in music education,” says Rydeen.\u003c/p>\n\u003cfigure id=\"attachment_13831116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831116\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/wam2-800x535.jpg\" alt=\"Women's Audio Mission interns assist in a podcasting class for middle schoolers at the non-profit's Oakland facility.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Women’s Audio Mission interns assist in a podcasting class for middle school students at the non-profit’s Oakland facility. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As of 2017, the Oakland Unified School District has a\u003ca href=\"https://edsource.org/2017/graduation-and-dropout-rates-look-up-california-districts-and-high-schools/580171\" target=\"_blank\" rel=\"noopener\"> 35 percent dropout rate\u003c/a>, and Terri Winston, founder of Women’s Audio Mission, says that phenomenon is particularly prevalent in East Oakland. She set her sights on Fruitvale in order to reach those under-resourced students.\u003c/p>\n\u003cp>“This location in particular, there’s like eight middle schools that can walk to us,” says Winston. “It was important to us to have a location that the girls could own, that felt like, ‘This is a part of my neighborhood.'”\u003c/p>\n\u003cp>When I sit in on a class called Girls on the Mic on a recent afternoon, over a dozen sixth-grade girls from Urban Promise Academy work on podcasts in GarageBand. Most of them are bilingual English and Spanish speakers, so there’s a lot of Spanglish in the mix. One group of three giggles as they practice the introduction to their gossip podcast, which they’re calling \u003cem>Middle School Chisme. \u003c/em>Another group passionately huddles around their microphones for a podcast on LGBTQ issues. “I don’t know what I am yet,” one student confesses into the mic, “but I think everyone should be themselves!”\u003c/p>\n\u003cp>At Girls on the Mic, kids learn a wide range of skills, including recording, mixing, music production, sound for film, podcasting and live sound. “They kind of get to pick and choose and get exposed to all of these careers,” says Victoria Fajardo, a Girls on the Mic instructor.\u003c/p>\n\u003cp>Fajardo says that as a woman of color, her passion to inspire young girls in Fruitvale is deeply personal: she’s first generation Mexican American and grew up in a similarly working class, predominantly Latino neighborhood in Concord. “It’s really important for me to tell them, ‘If I can do it, you can do it,'” she says.\u003c/p>\n\u003cp>As class wraps up, the girls look invigorated; they’re still giggling from having fun being themselves on the mic. Winston says that experiences like this can help close the achievement gap by motivating students to get excited about learning. Her goal is to reach 3,000 Oakland students a year by 2020.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“They can see how this ties into their current studies,” she says. “And then: ‘Oh, maybe my current studies aren’t that bad if I can use them to make this badass art.'”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent morning at Westlake Middle School in Oakland, longtime band teacher Randy Porter keeps a friendly demeanor while wrangling his students’ attention. “Turn to page 17,” he says, projecting over a cacophony of sixth graders messing with their flutes, clarinets, trumpets and saxophones. “Here’s the thing: with a little bit of focus, you could get \u003cem>every\u003c/em> line sounding that good. I know you could. Or actually, even better!”\u003c/p>\n\u003cp>Porter’s encouragement gets a boost in his next class, for seventh and eighth grade advanced band students, when local trumpet player Christopher Clarke joins him. Clarke is a teaching artist who’s here thanks to San Francisco nonprofit \u003ca href=\"https://www.sfjazz.org/education/schools-and-partnerships/\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>‘s program Jazz in Session, which brings professional musicians into classrooms to work one-on-one with students. As Porter leads the class through a 12-bar blues composition, Clarke brings three trumpet players into a glass-paneled practice room for a special session.\u003c/p>\n\u003cfigure id=\"attachment_13831113\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/sfjazz1-800x535.jpg\" alt=\"Band teacher Randy Porter and visiting artist Christopher Clarke, who teaches at Westlake Middle School thanks to SFJAZZ' Jazz in Session initiative. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Band teacher Randy Porter and visiting artist Christopher Clarke, who teaches at Westlake Middle School thanks to SFJAZZ’s Jazz in Session initiative. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Clarke here, the atmosphere changes; the students seem more engaged, and Porter seems relieved. “I feel like the biggest part of my job is psychologist. I gotta teach music, but there’s a lot more,” Porter says when he gets a moment to break away from his class. “More than half of our students come from a traumatic home life.”\u003c/p>\n\u003cp>SFJAZZ has had a presence in San Francisco public schools since 1984, but this year marks its major expansion into Oakland, with the goal of reaching all of the city’s middle schools. Along with fellow San Francisco nonprofit Women’s Audio Mission — which opened an Oakland location for its middle school after-school program this school year — SFJAZZ joins several Oakland music nonprofits, including Oaktown Jazz and Oakland Public Conservatory, in bolstering underfunded music programs in the Oakland Unified School District.\u003c/p>\n\u003ch3>Tackling Music Education from Multiple Fronts\u003c/h3>\n\u003cp>Last fall, SFJAZZ introduced Jazz in Session — where teaching artists like Clarke visit music classrooms — to three Oakland middle Schools: Westlake, Montera and Edna Brewer. In the coming 2018-19 school year, SFJAZZ plans to implement two more education programs in Oakland: one of them, School Day Concerts, will bring musicians like bassist Marcus Shelby and Latin jazz ensemble La Mixta Criolla to perform for assemblies at 15 different schools.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At two to three more middle schools, SFJAZZ is planning another program, Jazz in the Middle, which integrates a jazz curriculum into existing language arts and social studies classes at schools that don’t have band periods. (SFJAZZ has yet to announce the names of the beneficiary schools of both programs.)\u003c/p>\n\u003cfigure id=\"attachment_13831114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831114\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/sfjazz2-800x535.jpg\" alt=\"Beginning band class at Westlake Middle School.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beginning band class at Westlake Middle School. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFJAZZ Director of Education Rebecca Mauleón says she hopes SFJAZZ’s efforts will bolster the arts in the low-income school district, which has about \u003ca href=\"http://www.ofcy.org/assets/Strategic-Plan/Strategic-Plan-2016-2019-Appendix-A-Oakland-Youth-Demographic-Profile.pdf\" target=\"_blank\" rel=\"noopener\">a third of students\u003c/a> living below the poverty line. The primary aim is to contribute to students’ over all academic success, not necessarily to put them on a direct path to professional musicianship.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">The arts are necessary skill-building tools that are part of critical thinking, collaborative learning and, in many cases, the types of job opportunities they’ll have in the future that haven’t been invented yet,” Mauleón says.\u003c/span>\u003c/p>\n\u003cp>SFJAZZ’ goal is to bring consistency to OUSD’s music programs at a time when the district faces a major \u003ca href=\"https://www.eastbaytimes.com/2017/12/14/oakland-unified-school-board-approves-9-million-in-mid-year-cuts/\" target=\"_blank\" rel=\"noopener\">budget crisis\u003c/a>. According to the\u003ca href=\"http://www.randstatestats.org/ca/stats/per-pupil-spending-(ca-only).html\" target=\"_blank\" rel=\"noopener\"> latest available data\u003c/a> from the Rand Corporation, Oakland Unified School District (OUSD) spent $13,813 per student during the 2016-17 school year. (In comparison, across the Bay in affluent Palo Alto, the school district spent $17,941 — over $4,000 more — per student.) Moreover, in December 2017, OUSD approved $9 million in mid-year budget cuts, nixing dozens of non-teaching staff positions and reducing budgets for supplies, teacher benefits and other areas.\u003c/p>\n\u003cp>Fillmore Rydeen, the manager of visual and performing arts at OUSD, says OUSD hasn’t laid off any music teachers in years, but admitted that there have been operational cuts to music:\u003cspan style=\"font-weight: 400\"> “Money we’d use to purchase instruments, supplies and things like that; repair equipment,” he says.\u003c/span>\u003c/p>\n\u003cp>Like \u003ca href=\"https://www.kqed.org/news/10897918/parents-and-administrators-in-oakland-battle-over-middle-schools-future\" target=\"_blank\" rel=\"noopener\">several other teachers at Westlake\u003c/a>, Porter maintains that traditional public schools have \u003ca href=\"https://www.eastbaytimes.com/2017/12/08/what-led-to-oakland-unifieds-budget-crisis/\" target=\"_blank\" rel=\"noopener\">taken a major hit\u003c/a> over the past decade as a result of the charter school movement. Charter schools attract high-achieving students from well-off families out of public schools like Westlake, he says, leaving students from low-income families behind.\u003c/p>\n\u003cp>In 2013, Westlake had 747 students. Porter says that number is now closer to 360. Because schools get funding based on average daily attendance, they’ve lost many resources. The principal cancelled Porter’s before-school jazz band period because of low enrollment, for instance, which cut the time he gets with his advanced students in half.\u003c/p>\n\u003cp>“We have this new era of segregation in Oakland schools,” he says.\u003c/p>\n\u003cp>At Westlake, teachers are stretched thin, Porter explains, which is why non-profit programs that send in teaching artists like Clarke can be a huge boon: “There are so many kids that have so many needs in a community like this that to be really successful is not a one-person job.”\u003c/p>\n\u003ch3>Focusing on Under-Resourced Schools\u003c/h3>\n\u003cp>Like SFJAZZ, the San Francisco-based Women’s Audio Mission (WAM) is also seeking to deepen its relationship with Oakland schools. The nonprofit has offered after-school programs on site at Oakland schools for nearly seven years, and it opened its first Oakland facility in the Fruitvale district at the start of the 2017-2018 school year.\u003c/p>\n\u003cp>“We’ve had next-to-no capacity to offer audio engineering course work for our middle school students, so having someone like Women’s Audio Mission is something that’s really critical and fills a variety of different roles in music education,” says Rydeen.\u003c/p>\n\u003cfigure id=\"attachment_13831116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831116\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/wam2-800x535.jpg\" alt=\"Women's Audio Mission interns assist in a podcasting class for middle schoolers at the non-profit's Oakland facility.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Women’s Audio Mission interns assist in a podcasting class for middle school students at the non-profit’s Oakland facility. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As of 2017, the Oakland Unified School District has a\u003ca href=\"https://edsource.org/2017/graduation-and-dropout-rates-look-up-california-districts-and-high-schools/580171\" target=\"_blank\" rel=\"noopener\"> 35 percent dropout rate\u003c/a>, and Terri Winston, founder of Women’s Audio Mission, says that phenomenon is particularly prevalent in East Oakland. She set her sights on Fruitvale in order to reach those under-resourced students.\u003c/p>\n\u003cp>“This location in particular, there’s like eight middle schools that can walk to us,” says Winston. “It was important to us to have a location that the girls could own, that felt like, ‘This is a part of my neighborhood.'”\u003c/p>\n\u003cp>When I sit in on a class called Girls on the Mic on a recent afternoon, over a dozen sixth-grade girls from Urban Promise Academy work on podcasts in GarageBand. Most of them are bilingual English and Spanish speakers, so there’s a lot of Spanglish in the mix. One group of three giggles as they practice the introduction to their gossip podcast, which they’re calling \u003cem>Middle School Chisme. \u003c/em>Another group passionately huddles around their microphones for a podcast on LGBTQ issues. “I don’t know what I am yet,” one student confesses into the mic, “but I think everyone should be themselves!”\u003c/p>\n\u003cp>At Girls on the Mic, kids learn a wide range of skills, including recording, mixing, music production, sound for film, podcasting and live sound. “They kind of get to pick and choose and get exposed to all of these careers,” says Victoria Fajardo, a Girls on the Mic instructor.\u003c/p>\n\u003cp>Fajardo says that as a woman of color, her passion to inspire young girls in Fruitvale is deeply personal: she’s first generation Mexican American and grew up in a similarly working class, predominantly Latino neighborhood in Concord. “It’s really important for me to tell them, ‘If I can do it, you can do it,'” she says.\u003c/p>\n\u003cp>As class wraps up, the girls look invigorated; they’re still giggling from having fun being themselves on the mic. Winston says that experiences like this can help close the achievement gap by motivating students to get excited about learning. Her goal is to reach 3,000 Oakland students a year by 2020.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They can see how this ties into their current studies,” she says. “And then: ‘Oh, maybe my current studies aren’t that bad if I can use them to make this badass art.'”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>American jazz and blues clearly resulted from the African diaspora. To celebrate the roots of these genres, SFJAZZ is holding a mini-festival with shows by the Bay Area’s Meklit Hadero, born in Ethiopia; Fatoumata Diawara from Mali; and David Sanchez, a master at mixing Afro-Cuban and bebop. \u003c/p>\n\u003cp>Recently, Diawara released a powerful new music video that takes on the tragedy of that diaspora. It’s about African refugees fleeing the continent for Europe, and, in the video, the very rocks of the earth are on the move.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4gmGL5SqhaY\u003c/p>\n\u003cp>Meklit Hadero is an amazing Ethiopian born singer-songwriter who has been exploring the music of the Nile Delta for a long time now. Her latest album, \u003cem>When the People Move, the Music Moves Too,\u003c/em> is “a full out Afro-futurist jazz explosion,” to quote guest co-host Eli Wirtschafter. Meanwhile San Francisco singer Paula West does a show about jazz and social justice the same weekend. Woody Guthrie’s “Dust Bowl Refugee” might be appropriate. \u003ca href=\"https://www.sfjazz.org/calendar/?month=4.2018\" target=\"_blank\" rel=\"noopener\">Details for the shows on April 5-8 are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JkMHUonNMbs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>American jazz and blues clearly resulted from the African diaspora. To celebrate the roots of these genres, SFJAZZ is holding a mini-festival with shows by the Bay Area’s Meklit Hadero, born in Ethiopia; Fatoumata Diawara from Mali; and David Sanchez, a master at mixing Afro-Cuban and bebop. \u003c/p>\n\u003cp>Recently, Diawara released a powerful new music video that takes on the tragedy of that diaspora. It’s about African refugees fleeing the continent for Europe, and, in the video, the very rocks of the earth are on the move.\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/4gmGL5SqhaY'\n title='//www.youtube.com/embed/4gmGL5SqhaY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Meklit Hadero is an amazing Ethiopian born singer-songwriter who has been exploring the music of the Nile Delta for a long time now. Her latest album, \u003cem>When the People Move, the Music Moves Too,\u003c/em> is “a full out Afro-futurist jazz explosion,” to quote guest co-host Eli Wirtschafter. Meanwhile San Francisco singer Paula West does a show about jazz and social justice the same weekend. Woody Guthrie’s “Dust Bowl Refugee” might be appropriate. \u003ca href=\"https://www.sfjazz.org/calendar/?month=4.2018\" target=\"_blank\" rel=\"noopener\">Details for the shows on April 5-8 are here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/JkMHUonNMbs'\n title='//www.youtube.com/embed/JkMHUonNMbs'\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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"title": "A Man Alone: Solo Bass Conversations with Dave Holland",
"headTitle": "A Man Alone: Solo Bass Conversations with Dave Holland | KQED",
"content": "\u003cp>Bassists can be a self-deprecating lot, which probably explains why every few days I see some low-end specialist posting that cartoon with two tough guys trying to extract information from a blindfolded, handcuffed mug. “I think he will talk now boss…” says one, while poised to start playing a double bass. “Oh yeah! I know that!” the boss replies. “Everybody starts to talk during a bass solo…” \u003c/p>\n\u003cp>It’s true that audiences often get restless during bass solos, and that said solos are too often meted out injudiciously in jazz, arising more from a seeming desire to distribute equal time in the spotlight than from musical need. But when \u003ca href=\"https://www.arts.gov/honors/jazz\">NEA Jazz Master\u003c/a> Dave Holland opens another four-night run Thursday at the SFJAZZ Center with \u003ca href=\"https://www.sfjazz.org/tickets/productions/dave-holland-solo/?gclid=CjwKCAjws6jVBRBZEiwAkIfZ2s8-FFZYa3BqVXEYlh9kULDJq2M7-HbSvNqhQuXHi_-wjsp1BU9zShoCnn0QAvD_BwE\">a rare solo recital\u003c/a>, the response is far more likely to be rapt silence than chatter.\u003c/p>\n\u003cp>More than a jazz giant, Holland is a restless seeker, always looking to forge new musical relationships. Technically, programmatically and imaginatively, any jazz bassist faces numerous challenges playing without a score. But for Holland, it’s the lack an interlocutor that makes the format an existential leap. “The clear difference is you’re on your own,” he said in a recent phone call from Basel, Switzerland.\u003c/p>\n\u003cp>“There’s no conversation or interaction, other than with the audience. That’s an element that I particularly enjoy, the back and forth with other players. What I had to learn was how to pace the concert, how get enough variety so it doesn’t get repetitious over 80 or 90 minutes.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JmvCZxZ_jwM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At 71, the British-born Holland has been a creative force for more than half a century, and a vanguard figure since he arrived in the United States in 1968 to play with trumpet legend Miles Davis, who wanted an electric bassist for his rapidly evolving band. Holland long ago shed the electric bass from his arsenal, and he’s one of a handful of jazz double bassists resourceful enough to turn a solo evening into a riveting musical experience.\u003c/p>\n\u003cp>San Francisco native Barre Phillips released the first solo jazz bass album in 1968, a project known under various titles, including \u003cem>Journal Violone\u003c/em>. But it was Holland’s 1977 album \u003cem>Emerald Tears\u003c/em> (ECM) that brought the demanding format into jazz’s mainstream (fittingly, Holland and Phillips recorded a duo album together, 1971’s ECM session \u003cem>Music For Two Basses\u003c/em>). His history with the format spans his peripatetic creative journey from his years in the avant-garde quartet Circle with Chick Corea, Barry Altschul, and Anthony Braxton, through his embrace of compositional form and groove as a bandleader some two decade later.\u003c/p>\n\u003cp>“Anthony Braxton encouraged me to do more solo playing,” Holland says. “But I didn’t really do my first solo concert until \u003cem>Emerald Tears\u003c/em>. When you think about the bass, you can play double stops and some chordal things, but you have to present the whole song. When I started playing cello in 1970 I worked on those amazing Bach solo suites, and that’s what used to develop a solo bass approach too. Bach presents a way to accompany, fulfill the harmonic setting and play melody at the same time.”\u003c/p>\n\u003cp>For \u003ca href=\"https://www.sfjazz.org/tickets/productions/dave-holland-and-kenny-barron/\">Friday night’s show\u003c/a>, Holland is joined by pianist and fellow NEA Jazz Master Kenny Barron, a duo that embodies jazz’s interactive imperative at its more rarified. They first played together on Barron’s 1985 trio session \u003cem>Scratch\u003c/em> (Enja), and in the years following, whenever their paths crossed, they talked about working together again. Decades later, they finally seized the moment, resulting in the duo album \u003cem>The Art of Conversation\u003c/em> (Impulse!), which was named 2014 Album of the Year by the Jazz Journalists Association.\u003c/p>\n\u003cp>As befitting an improviser whose lines flow with elegant, curvilinear grace, Holland adds a player over the course of each night. \u003ca href=\"https://www.sfjazz.org/tickets/productions/dave-holland-kevin-eubanks-obed-calvaire/\">Saturday’s trio\u003c/a> reunites Holland with guitarist Kevin Eubanks, with whom he’s collaborated since the 1980s, and SFJAZZ Collective drummer Obed Calvaire, a more recent connection. Holland caught Calvaire playing on a gig with Cameroonian bassist/vocalist Richard Bona a few years ago, and sought him out. Holland and Eubanks had been in the midst of creating new music after the guitarist left his long-running television gig with Jay Leno, and they added Calvaire into the mix, a trio they’re in the process of recording.\u003c/p>\n\u003cp>The run \u003ca href=\"https://www.sfjazz.org/tickets/productions/dave-holland-chris-potter-lionel-loueke-eric-harland/\">closes on Sunday\u003c/a> with Aziza, Holland’s quartet with tenor saxophonist Chris Potter, drummer Eric Harland, and Beninese guitarist Lionel Loueke (who was just in town with Herbie Hancock a few weeks ago). “Talk about a unique guitarist!” Holland says. “I’m so lucky to have this relationship with two amazing guitarists, Kevin and Lionel. The way Lionel relates to a band and accompanies brings such an amazing dynamic to a group.”\u003c/p>\n\u003cp>Holland returns to the SFJAZZ Center on June 16 as part of the 36th San Francisco Jazz Festival for a trio concert with Chris Potter and Zakir Hussain, who built last year’s India-jazz summit Crosscurrents at SFJAZZ around Holland’s bass.\u003c/p>\n\u003cp>Crosscurrents has toured widely since then, but this date is a stripped-down situation “so we can get into deep waters with Zakir and his rhythmic world,” Holland says. “He’s such a supportive player. But still, it’s so challenging to play with him, with his incredible ability and depth, combining all the Indian tradition and his experience working with all his collaborations. It’s something very special.”\u003c/p>\n\u003cp>But that’s a whole other conversation.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dave Holland’s residency at SFJAZZ runs March 22–25. \u003ca href=\"https://www.sfjazz.org/tickets/seasons-series/2017-18/dave-holland/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bassists can be a self-deprecating lot, which probably explains why every few days I see some low-end specialist posting that cartoon with two tough guys trying to extract information from a blindfolded, handcuffed mug. “I think he will talk now boss…” says one, while poised to start playing a double bass. “Oh yeah! I know that!” the boss replies. “Everybody starts to talk during a bass solo…” \u003c/p>\n\u003cp>It’s true that audiences often get restless during bass solos, and that said solos are too often meted out injudiciously in jazz, arising more from a seeming desire to distribute equal time in the spotlight than from musical need. But when \u003ca href=\"https://www.arts.gov/honors/jazz\">NEA Jazz Master\u003c/a> Dave Holland opens another four-night run Thursday at the SFJAZZ Center with \u003ca href=\"https://www.sfjazz.org/tickets/productions/dave-holland-solo/?gclid=CjwKCAjws6jVBRBZEiwAkIfZ2s8-FFZYa3BqVXEYlh9kULDJq2M7-HbSvNqhQuXHi_-wjsp1BU9zShoCnn0QAvD_BwE\">a rare solo recital\u003c/a>, the response is far more likely to be rapt silence than chatter.\u003c/p>\n\u003cp>More than a jazz giant, Holland is a restless seeker, always looking to forge new musical relationships. Technically, programmatically and imaginatively, any jazz bassist faces numerous challenges playing without a score. But for Holland, it’s the lack an interlocutor that makes the format an existential leap. “The clear difference is you’re on your own,” he said in a recent phone call from Basel, Switzerland.\u003c/p>\n\u003cp>“There’s no conversation or interaction, other than with the audience. That’s an element that I particularly enjoy, the back and forth with other players. What I had to learn was how to pace the concert, how get enough variety so it doesn’t get repetitious over 80 or 90 minutes.”\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/JmvCZxZ_jwM'\n title='//www.youtube.com/embed/JmvCZxZ_jwM'\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>At 71, the British-born Holland has been a creative force for more than half a century, and a vanguard figure since he arrived in the United States in 1968 to play with trumpet legend Miles Davis, who wanted an electric bassist for his rapidly evolving band. Holland long ago shed the electric bass from his arsenal, and he’s one of a handful of jazz double bassists resourceful enough to turn a solo evening into a riveting musical experience.\u003c/p>\n\u003cp>San Francisco native Barre Phillips released the first solo jazz bass album in 1968, a project known under various titles, including \u003cem>Journal Violone\u003c/em>. But it was Holland’s 1977 album \u003cem>Emerald Tears\u003c/em> (ECM) that brought the demanding format into jazz’s mainstream (fittingly, Holland and Phillips recorded a duo album together, 1971’s ECM session \u003cem>Music For Two Basses\u003c/em>). His history with the format spans his peripatetic creative journey from his years in the avant-garde quartet Circle with Chick Corea, Barry Altschul, and Anthony Braxton, through his embrace of compositional form and groove as a bandleader some two decade later.\u003c/p>\n\u003cp>“Anthony Braxton encouraged me to do more solo playing,” Holland says. “But I didn’t really do my first solo concert until \u003cem>Emerald Tears\u003c/em>. When you think about the bass, you can play double stops and some chordal things, but you have to present the whole song. When I started playing cello in 1970 I worked on those amazing Bach solo suites, and that’s what used to develop a solo bass approach too. Bach presents a way to accompany, fulfill the harmonic setting and play melody at the same time.”\u003c/p>\n\u003cp>For \u003ca href=\"https://www.sfjazz.org/tickets/productions/dave-holland-and-kenny-barron/\">Friday night’s show\u003c/a>, Holland is joined by pianist and fellow NEA Jazz Master Kenny Barron, a duo that embodies jazz’s interactive imperative at its more rarified. They first played together on Barron’s 1985 trio session \u003cem>Scratch\u003c/em> (Enja), and in the years following, whenever their paths crossed, they talked about working together again. Decades later, they finally seized the moment, resulting in the duo album \u003cem>The Art of Conversation\u003c/em> (Impulse!), which was named 2014 Album of the Year by the Jazz Journalists Association.\u003c/p>\n\u003cp>As befitting an improviser whose lines flow with elegant, curvilinear grace, Holland adds a player over the course of each night. \u003ca href=\"https://www.sfjazz.org/tickets/productions/dave-holland-kevin-eubanks-obed-calvaire/\">Saturday’s trio\u003c/a> reunites Holland with guitarist Kevin Eubanks, with whom he’s collaborated since the 1980s, and SFJAZZ Collective drummer Obed Calvaire, a more recent connection. Holland caught Calvaire playing on a gig with Cameroonian bassist/vocalist Richard Bona a few years ago, and sought him out. Holland and Eubanks had been in the midst of creating new music after the guitarist left his long-running television gig with Jay Leno, and they added Calvaire into the mix, a trio they’re in the process of recording.\u003c/p>\n\u003cp>The run \u003ca href=\"https://www.sfjazz.org/tickets/productions/dave-holland-chris-potter-lionel-loueke-eric-harland/\">closes on Sunday\u003c/a> with Aziza, Holland’s quartet with tenor saxophonist Chris Potter, drummer Eric Harland, and Beninese guitarist Lionel Loueke (who was just in town with Herbie Hancock a few weeks ago). “Talk about a unique guitarist!” Holland says. “I’m so lucky to have this relationship with two amazing guitarists, Kevin and Lionel. The way Lionel relates to a band and accompanies brings such an amazing dynamic to a group.”\u003c/p>\n\u003cp>Holland returns to the SFJAZZ Center on June 16 as part of the 36th San Francisco Jazz Festival for a trio concert with Chris Potter and Zakir Hussain, who built last year’s India-jazz summit Crosscurrents at SFJAZZ around Holland’s bass.\u003c/p>\n\u003cp>Crosscurrents has toured widely since then, but this date is a stripped-down situation “so we can get into deep waters with Zakir and his rhythmic world,” Holland says. “He’s such a supportive player. But still, it’s so challenging to play with him, with his incredible ability and depth, combining all the Indian tradition and his experience working with all his collaborations. It’s something very special.”\u003c/p>\n\u003cp>But that’s a whole other conversation.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dave Holland’s residency at SFJAZZ runs March 22–25. \u003ca href=\"https://www.sfjazz.org/tickets/seasons-series/2017-18/dave-holland/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Matchup of Jazz Greats, 'The Calm' Meets 'The Storm' Head On",
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"content": "\u003cp>Even in death, \u003ca href=\"https://www.nytimes.com/2018/01/23/obituaries/hugh-masekela-dies.html\">Hugh Masekela\u003c/a> is opening new doors. In 2016, for the first time in more than half a century, the trumpet star and pianist/composer Abdullah Ibrahim reunited in \u003ca href=\"https://en.wikipedia.org/wiki/The_Jazz_Epistles\">The Jazz Epistles\u003c/a>, the pioneering South African jazz ensemble they founded in Cape Town in the late 1950s.\u003c/p>\n\u003cp>When it became clear that Masekela’s failing health wouldn’t allow him to participate in the Jazz Epistles tour this year, Ibrahim reached out to several different horn players to join the proceedings in different cities. (Terence Blanchard held down the Epistles’ trumpet chair in Seattle last weekend.) The eight-piece group checks into SFJAZZ’s Miner Auditorium on Thursday for a four-night run with trumpeter and \u003ca href=\"http://www.pulitzer.org/finalists/wadada-leo-smith\">Pulitzer Prize-finalist\u003c/a> composer \u003ca href=\"https://wadadaleosmith.com\">Wadada Leo Smith\u003c/a>.\u003c/p>\n\u003cp>At first glance, it’s a startling pairing, as Ibrahim’s music combines expansive Ellingtonian sonorities with a gentle, spiritually-charged lyricism derived from the hymns, folk themes, and chants he absorbed while growing up in Cape Town’s toughest district.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HB6pVFIwQd8\u003c/p>\n\u003cp>On the other end of the spectrum, the New Haven-based Smith is a lion of the avant-garde, a protean force who gave the Bay Area a wide-angle view of his musical world in December with more than a dozen different configurations at a \u003ca href=\"https://www.sfchronicle.com/music/article/Prolific-trumpeter-Wadada-Leo-Smith-brings-his-12424766.php\">two-day festival\u003c/a> that the trumpeter produced at The Lab with the support of a Doris Duke Foundation fellowship.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Different as they might seem, Smith and Ibrahim both draw direct inspiration from the jazz explorers who introduced new rhythmic and tonal concepts in the late 1950s. At his first Epistles rehearsal last week, Smith tells me in a phone interview, he found that the session covered a lot more than running through tunes. Ibrahim spent part of the time talking about his experiences as a young exile in New York City in the mid-1960s “playing with all the great masters, Cecil Taylor, Ornette Coleman, and Don Cherry,” says Smith, 76.\u003c/p>\n\u003cp>“I knew he and Don were tight, but to watch the gleam in his eye talking about him was wonderful. It inspired me so much that this morning I started working on a composition for trumpet and piano, a psychological portrait of Ibrahim. I left the rehearsal yesterday with beautiful energy and this morning that energy gave me a gift.”\u003c/p>\n\u003cp>A thoughtful and strikingly insightful portraitist, Smith often reveals unexpected facets of his fellow artists, like on last year’s \u003cem>Solo: Reflections and Meditations on Monk\u003c/em> (TUM Records). But over the past decade, he’s enjoyed a late-career burst of activity working on expansive soundscapes that evoke entire geographical regions, like 2014’s \u003cem>The Great Lakes Suite\u003c/em> (TUM Records). His music has also meditated on complex historical events, most notably 2012’s epic Pulitzer Prize finalist \u003cem>Ten Freedom Summers\u003c/em> (Cuneiform), an orchestral four-disc project inspired by the civil rights movement.\u003c/p>\n\u003cp>Like Ibrahim, Smith takes his role as an artist seriously, embracing the idea that “music is not just for entertainment. Music can heal. It creates the conditions for healing, and carries a narrative history and the content of spirituality. The whole idea of music transforming society, and what it does when people listen, those are things that the AACM tapped into reaching back to African music,” Smith said, referring to Chicago’s seminal Association for the Advancement of Creative Musicians, which he joined in 1967.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5P2N8-u3zmA\u003c/p>\n\u003cp>As for Ibrahim, the struggle for freedom has been a central motif in his music since the start, when he was a conspicuously gifted young pianist who performed as Dollar Brand. Joined by Masekela, he launched the Jazz Epistles, which recorded the first jazz album by black South African musicians. They played original arrangements of tunes by Dizzy Gillespie, Thelonious Monk, Duke Ellington and Fats Waller, as well as originals that blended bebop and mbaqanga, a melodically lilting style that grew out of a street-corner Zulu vocal tradition.\u003c/p>\n\u003cp>The group was wildly popular, but the apartheid government’s accelerating crackdown on political dissent in 1960 made the situation untenable for musicians, as any gatherings of more than 10 blacks were banned. Ibrahim and his future wife, jazz vocalist Sathima Bea Benjamin, fled first to Europe. In Switzerland they famously connected with Ellington, who was so taken with the self-possessed young pianist that he flew the group to Paris the next day and produced the album \u003cem>Duke Ellington Presents The Dollar Brand Trio\u003c/em> (Reprise).\u003c/p>\n\u003cp>Ibrahim’s tribute to the Jazz Epistles is built on his longtime band Ekaya, featuring Noah Jackson on bass and cello, drummer Will Terrill, Cleave Guyton Jr. on alto sax, flute and clarinet, tenor saxophonist Lance Bryant, baritone saxophonist Marshall McDonald, and Andrae Murchison on trombone and trumpet. In many ways, Smith’s volatile trumpet is the wild card in a group steeped in the pianist’s serene, lapidary compositions.\u003c/p>\n\u003cp>“There’s always the perception that the music is simple, but it’s very complex, and very, very difficult to play,” Ibrahim told me in an interview several years ago. “We are the first generation of jazz improvisors in the African tradition. In order to do that, you need serenity. It’s not a question of taking bebop lines and adding it on top of our music. We had to develop a vocabulary, and we’re still developing it.”\u003c/p>\n\u003cp>With Wadada Leo Smith in the mix, Ibrahim’s music and the legacy of the Jazz Epistles is poised for another evolutionary leap.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Jazz Epistles, with Abdullah Ibrahim and Wadada Leo Smith, perform Feb. 22–Feb. 25 at the SFJAZZ Center in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/jazz-epistles/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even in death, \u003ca href=\"https://www.nytimes.com/2018/01/23/obituaries/hugh-masekela-dies.html\">Hugh Masekela\u003c/a> is opening new doors. In 2016, for the first time in more than half a century, the trumpet star and pianist/composer Abdullah Ibrahim reunited in \u003ca href=\"https://en.wikipedia.org/wiki/The_Jazz_Epistles\">The Jazz Epistles\u003c/a>, the pioneering South African jazz ensemble they founded in Cape Town in the late 1950s.\u003c/p>\n\u003cp>When it became clear that Masekela’s failing health wouldn’t allow him to participate in the Jazz Epistles tour this year, Ibrahim reached out to several different horn players to join the proceedings in different cities. (Terence Blanchard held down the Epistles’ trumpet chair in Seattle last weekend.) The eight-piece group checks into SFJAZZ’s Miner Auditorium on Thursday for a four-night run with trumpeter and \u003ca href=\"http://www.pulitzer.org/finalists/wadada-leo-smith\">Pulitzer Prize-finalist\u003c/a> composer \u003ca href=\"https://wadadaleosmith.com\">Wadada Leo Smith\u003c/a>.\u003c/p>\n\u003cp>At first glance, it’s a startling pairing, as Ibrahim’s music combines expansive Ellingtonian sonorities with a gentle, spiritually-charged lyricism derived from the hymns, folk themes, and chants he absorbed while growing up in Cape Town’s toughest district.\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/HB6pVFIwQd8'\n title='//www.youtube.com/embed/HB6pVFIwQd8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the other end of the spectrum, the New Haven-based Smith is a lion of the avant-garde, a protean force who gave the Bay Area a wide-angle view of his musical world in December with more than a dozen different configurations at a \u003ca href=\"https://www.sfchronicle.com/music/article/Prolific-trumpeter-Wadada-Leo-Smith-brings-his-12424766.php\">two-day festival\u003c/a> that the trumpeter produced at The Lab with the support of a Doris Duke Foundation fellowship.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Different as they might seem, Smith and Ibrahim both draw direct inspiration from the jazz explorers who introduced new rhythmic and tonal concepts in the late 1950s. At his first Epistles rehearsal last week, Smith tells me in a phone interview, he found that the session covered a lot more than running through tunes. Ibrahim spent part of the time talking about his experiences as a young exile in New York City in the mid-1960s “playing with all the great masters, Cecil Taylor, Ornette Coleman, and Don Cherry,” says Smith, 76.\u003c/p>\n\u003cp>“I knew he and Don were tight, but to watch the gleam in his eye talking about him was wonderful. It inspired me so much that this morning I started working on a composition for trumpet and piano, a psychological portrait of Ibrahim. I left the rehearsal yesterday with beautiful energy and this morning that energy gave me a gift.”\u003c/p>\n\u003cp>A thoughtful and strikingly insightful portraitist, Smith often reveals unexpected facets of his fellow artists, like on last year’s \u003cem>Solo: Reflections and Meditations on Monk\u003c/em> (TUM Records). But over the past decade, he’s enjoyed a late-career burst of activity working on expansive soundscapes that evoke entire geographical regions, like 2014’s \u003cem>The Great Lakes Suite\u003c/em> (TUM Records). His music has also meditated on complex historical events, most notably 2012’s epic Pulitzer Prize finalist \u003cem>Ten Freedom Summers\u003c/em> (Cuneiform), an orchestral four-disc project inspired by the civil rights movement.\u003c/p>\n\u003cp>Like Ibrahim, Smith takes his role as an artist seriously, embracing the idea that “music is not just for entertainment. Music can heal. It creates the conditions for healing, and carries a narrative history and the content of spirituality. The whole idea of music transforming society, and what it does when people listen, those are things that the AACM tapped into reaching back to African music,” Smith said, referring to Chicago’s seminal Association for the Advancement of Creative Musicians, which he joined in 1967.\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/5P2N8-u3zmA'\n title='//www.youtube.com/embed/5P2N8-u3zmA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As for Ibrahim, the struggle for freedom has been a central motif in his music since the start, when he was a conspicuously gifted young pianist who performed as Dollar Brand. Joined by Masekela, he launched the Jazz Epistles, which recorded the first jazz album by black South African musicians. They played original arrangements of tunes by Dizzy Gillespie, Thelonious Monk, Duke Ellington and Fats Waller, as well as originals that blended bebop and mbaqanga, a melodically lilting style that grew out of a street-corner Zulu vocal tradition.\u003c/p>\n\u003cp>The group was wildly popular, but the apartheid government’s accelerating crackdown on political dissent in 1960 made the situation untenable for musicians, as any gatherings of more than 10 blacks were banned. Ibrahim and his future wife, jazz vocalist Sathima Bea Benjamin, fled first to Europe. In Switzerland they famously connected with Ellington, who was so taken with the self-possessed young pianist that he flew the group to Paris the next day and produced the album \u003cem>Duke Ellington Presents The Dollar Brand Trio\u003c/em> (Reprise).\u003c/p>\n\u003cp>Ibrahim’s tribute to the Jazz Epistles is built on his longtime band Ekaya, featuring Noah Jackson on bass and cello, drummer Will Terrill, Cleave Guyton Jr. on alto sax, flute and clarinet, tenor saxophonist Lance Bryant, baritone saxophonist Marshall McDonald, and Andrae Murchison on trombone and trumpet. In many ways, Smith’s volatile trumpet is the wild card in a group steeped in the pianist’s serene, lapidary compositions.\u003c/p>\n\u003cp>“There’s always the perception that the music is simple, but it’s very complex, and very, very difficult to play,” Ibrahim told me in an interview several years ago. “We are the first generation of jazz improvisors in the African tradition. In order to do that, you need serenity. It’s not a question of taking bebop lines and adding it on top of our music. We had to develop a vocabulary, and we’re still developing it.”\u003c/p>\n\u003cp>With Wadada Leo Smith in the mix, Ibrahim’s music and the legacy of the Jazz Epistles is poised for another evolutionary leap.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Jazz Epistles, with Abdullah Ibrahim and Wadada Leo Smith, perform Feb. 22–Feb. 25 at the SFJAZZ Center in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/jazz-epistles/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Cal Performances Director Matias Tarnopolsky joins me as co-host this week on The Do List, which is a delight. He dives deep into the worlds of classical music and dance, offering insights into the concerts we covered, including work by Leonard Bernstein, Philip Glass and Joby Talbot. We also gave Matias a crash course in pop, with a discussion of rocker Dan Auerbach of the Black Keys. Matias is game for anything so it’s a great podcast this week. Download it above or find it on iTunes.\u003c/p>\n\u003cp>\u003cstrong>Feb 14-18\u003c/strong>:\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/an-operatic-pairing-about-troubled-relationships/\" target=\"_blank\" rel=\"noopener\"> Bernstein and Heggie contribute one act operas on the bitter realities of romance\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 10 & 11: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/a-setting-of-the-psalms-by-bernstein-makes-for-serene-listening/\" target=\"_blank\" rel=\"noopener\">The South Bay’s Choral Project helps celebrate Bernstein’s 100th birthday with a performance of the serene Chichester Psalms\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 2 and 20: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/philip-glass-plays-his-classic-music-with-changing-parts/\" target=\"_blank\" rel=\"noopener\">Philip Glass is the star of a pair of concerts at San Francisco Performances \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 10-11:\u003c/strong> \u003ca href=\"https://www.sjdanceco.org/\" target=\"_blank\" rel=\"noopener\">sjDANCEco offers new dances from young members of the company and Robert Dekkers\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb 9-10 and March 15-18: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/a-path-of-miracles-leading-to-grace-cathedral/\" target=\"_blank\" rel=\"noopener\">ODC/Dance’s KT Nelson offers a miraculous new dance and the company celebrates its home season\u003cstrong> \u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 14-15:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/dan-auerbach-brings-a-rippin-band-to-the-fillmore/\" target=\"_blank\" rel=\"noopener\">Dan Auerbach brings new songs and R&B oldies to life with his Easy Eye Sound Review\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">The innovative violinist and disability rights activist Gaelynn Lea makes two stops in the Bay Area \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 7-10: \u003c/strong>\u003ca href=\"https://live.stanford.edu/calendar/february-2018/counting-sheep-guerrilla-folk-opera\" target=\"_blank\" rel=\"noopener\">The Lemon Bucket Orkestra does a guerrilla-folk party-punk version of a Ukrainian folk opera at Stanford\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb 16-18: \u003c/strong>\u003ca href=\"https://calperformances.org/performances/2017-18/world-stage/counting-sheep-lemon-bucket-orkestra.php\" target=\"_blank\" rel=\"noopener\">And the Lemon Bucket Orkestra brings it’s guerilla punk Ukrainian opera to the Oakland Metro Operahouse \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13809685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809685\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg\" alt=\"The Do List team of Cy Musiker and Matias Tarnopolsky\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List team of Cy Musiker and Matias Tarnopolsky \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cal Performances Director Matias Tarnopolsky joins me as co-host this week on The Do List, which is a delight. He dives deep into the worlds of classical music and dance, offering insights into the concerts we covered, including work by Leonard Bernstein, Philip Glass and Joby Talbot. We also gave Matias a crash course in pop, with a discussion of rocker Dan Auerbach of the Black Keys. Matias is game for anything so it’s a great podcast this week. Download it above or find it on iTunes.\u003c/p>\n\u003cp>\u003cstrong>Feb 14-18\u003c/strong>:\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/an-operatic-pairing-about-troubled-relationships/\" target=\"_blank\" rel=\"noopener\"> Bernstein and Heggie contribute one act operas on the bitter realities of romance\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 10 & 11: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/a-setting-of-the-psalms-by-bernstein-makes-for-serene-listening/\" target=\"_blank\" rel=\"noopener\">The South Bay’s Choral Project helps celebrate Bernstein’s 100th birthday with a performance of the serene Chichester Psalms\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 2 and 20: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/philip-glass-plays-his-classic-music-with-changing-parts/\" target=\"_blank\" rel=\"noopener\">Philip Glass is the star of a pair of concerts at San Francisco Performances \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 10-11:\u003c/strong> \u003ca href=\"https://www.sjdanceco.org/\" target=\"_blank\" rel=\"noopener\">sjDANCEco offers new dances from young members of the company and Robert Dekkers\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb 9-10 and March 15-18: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/a-path-of-miracles-leading-to-grace-cathedral/\" target=\"_blank\" rel=\"noopener\">ODC/Dance’s KT Nelson offers a miraculous new dance and the company celebrates its home season\u003cstrong> \u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 14-15:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/dan-auerbach-brings-a-rippin-band-to-the-fillmore/\" target=\"_blank\" rel=\"noopener\">Dan Auerbach brings new songs and R&B oldies to life with his Easy Eye Sound Review\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">The innovative violinist and disability rights activist Gaelynn Lea makes two stops in the Bay Area \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 7-10: \u003c/strong>\u003ca href=\"https://live.stanford.edu/calendar/february-2018/counting-sheep-guerrilla-folk-opera\" target=\"_blank\" rel=\"noopener\">The Lemon Bucket Orkestra does a guerrilla-folk party-punk version of a Ukrainian folk opera at Stanford\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb 16-18: \u003c/strong>\u003ca href=\"https://calperformances.org/performances/2017-18/world-stage/counting-sheep-lemon-bucket-orkestra.php\" target=\"_blank\" rel=\"noopener\">And the Lemon Bucket Orkestra brings it’s guerilla punk Ukrainian opera to the Oakland Metro Operahouse \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13809685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809685\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg\" alt=\"The Do List team of Cy Musiker and Matias Tarnopolsky\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List team of Cy Musiker and Matias Tarnopolsky \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Will Ed Lee be Remembered as an Arts Advocate? It's Complicated",
"headTitle": "Will Ed Lee be Remembered as an Arts Advocate? It’s Complicated | KQED",
"content": "\u003cp>On Friday night, Dec. 8, Mayor Ed Lee was at Stevens Books in the Excelsior District of San Francisco, viewing the work of artist Aaron de la Cruz and talking with other artists who’d created storefront installations funded by the city. \u003c/p>\n\u003cp>Tom DeCaigny, cultural affairs director for the San Francisco Arts Commission, saw the mayor there that night. According to DeCaigny, Lee’s regular appearances at this and other local arts events prove the importance of the arts to the mayor, who suffered a heart attack and died Monday evening at age 65.\u003c/p>\n\u003cp>“I think he really saw the value of arts and culture, particularly at the neighborhood level,” DeCaigny says. “Many people have spoken about how he wasn’t a flashy politician. He much preferred meeting with a local artist, in a local storefront — and that’s where he was, late into the evening just last Friday, before he passed.”\u003c/p>\n\u003cfigure id=\"attachment_13817503\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-1020x1530.jpg\" alt=\"Mayor Ed Lee at a groundbreaking ceremony for SFJAZZ's new performance space and center in May 2011.\" width=\"640\" height=\"960\" class=\"size-large wp-image-13817503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat.jpg 1285w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Ed Lee at a groundbreaking ceremony for SFJAZZ’s new performance space and center in May 2011. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such stories about Lee’s embrace of the arts, however, clash with a prevailing narrative in San Francisco’s creative community: specifically, that Lee’s tech- and developer-friendly policies sparked rent increases, low vacancy rates, and evictions that cumulatively pushed artists out of the city.\u003c/p>\n\u003cp>A 2015 survey from DeCaigny’s own San Francisco Arts Commission (SFAC) showed that of 600 artists polled, \u003ca href=\"https://ww2.kqed.org/arts/2015/09/16/survey-confirms-market-forces-pushing-artists-out-of-san-francisco/\" rel=\"noopener\" target=\"_blank\">70 percent had been displaced\u003c/a> from their home or studio. (Multiple artists contacted for this piece did not want to go on the record, citing Lee’s too-recent death, before unleashing a string of words that either started with “F” or had to do with tech’s takeover of San Francisco.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stuart Shuffman, a.k.a. Broke-Ass Stuart, ran for Mayor against Lee in a 2015 election on a platform that included the protection of artists.\u003c/p>\n\u003cp>“When there are policies to help the rich get richer, you can’t be an artist in San Francisco anymore,” he says. “Art doesn’t come from the top. Art is a bottom-up thing. And when you push out all the working-class people, all the poor people and artists, you just get a boring-ass city.”\u003c/p>\n\u003cp>Lee should have been able to see the direct connection between his tech-friendly policies and artist displacement, Shuffman says — a stance shared by most artists he knows. “Ed Lee wasn’t out there personally evicting artists. I don’t think he was a bad person, and I’m sure he liked art and artists. But the policy of tech by any means necessary was harmful to the city.” \u003c/p>\n\u003cfigure id=\"attachment_13809567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-800x524.jpg\" alt=\"\" width=\"800\" height=\"524\" class=\"size-medium wp-image-13809567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-960x629.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-520x341.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Moscone at San Francisco Arts Advocacy Day in 2017. \u003ccite>(Pax Ahimsa Gethen / funcrunch.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That conclusion — that Lee was friendly to tech and thus an enemy to artists — is an oversimplified one, says Jonathan Moscone, civic engagement chief at the Yerba Buena Center for the Arts and son of the late mayor George Moscone.\u003c/p>\n\u003cp>“There are a lot of forces that make arts difficult to sustain, in \u003cem>any\u003c/em> city in this country,” says Moscone. “I don’t think it’s a one-to-one ratio that tech caused this, considering the complexity of issues that San Francisco faces.”\u003c/p>\n\u003cp>Moscone was the leading proponent of Prop. S, a \u003ca href=\"https://ww2.kqed.org/arts/2016/05/27/sf-arts-and-homeless-organizations-join-forces-to-secure-more-city-funding/\" rel=\"noopener\" target=\"_blank\">2016 hotel tax initiative\u003c/a> that would have restored lost funding for the arts. Lee did not come out publicly for the proposal, and it failed at the polls by a narrow margin. Despite that, Moscone says, he understands that Lee had other priorities, and “insofar as we were able to get his ear, he did love the arts, that was very clear.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>Those in nonprofit arts organizations around the city echo the sentiment — that though Lee may not have loudly campaigned for the arts, he did understand their importance, and worked behind the scenes to mitigate the creative class’ exodus from San Francisco. Often that involved committees, meetings, boards, grants and other “not-so-sexy to the public” activities, says DeCaigny, but had tangible, and massive, results.\u003c/p>\n\u003cp>“One of his signature accomplishments was a historic \u003ca href=\"https://www.sfstation.com/2015/06/05/sf-commits-7-million-to-support-the-arts/\" rel=\"noopener\" target=\"_blank\">million-dollar increase to the Cultural Equity Endowment\u003c/a>. That’s the endowment that the Arts Commission manages that grants to both individual artists and small, mid-sized budget arts nonprofit organizations,” says DeCaigny of the 50-percent increase. “That endowment had been around for 20 years, so it’s something to say that it hadn’t been done before.”\u003c/p>\n\u003cp>Also as a result of that 2015 funding package, the \u003ca href=\"http://cast-sf.org/\" rel=\"noopener\" target=\"_blank\">Community Arts Stabilization Trust\u003c/a> (CAST) was able to secure long-term leases for both the Luggage Store Gallery and CounterPulse, both well-loved institutions. Moy Eng, CAST’s executive director, characterizes Lee’s approach with the funding package as “not just a kicking the can down the road, but finding a long-term and permanent solution.”\u003c/p>\n\u003cfigure id=\"attachment_11539534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-800x450.jpg\" alt=\"Equipto.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11539534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_.jpg 1595w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Equipto, hip-hop artist and member of the ‘Frisco Five’ who personally addressed Mayor Ed Lee in a widely shared video.\u003c/figcaption>\u003c/figure>\n\u003cp>And yet in San Francisco, those approaches — wonky, not easy to digest, full of bureaucracy — didn’t quell his critics. Perhaps the loudest artist expressing anger toward Lee was longtime San Francisco hip-hop artist Equipto, who confronted the mayor at Max’s Opera Cafe in 2015. “You have no heart, man,” the rapper told him in a \u003ca href=\"https://www.facebook.com/equipto415/videos/1033058506733989/\" rel=\"noopener\" target=\"_blank\">widely shared video\u003c/a>. “The people that built this city, you’re kickin’ ’em all out of here, man. You’re a part of it, I know you are.” \u003c/p>\n\u003cp>Equipto — part of a \u003ca href=\"http://wineandbowties.com/music/four-one-fivin-san-francisco-rap-aint-dead-yet/\" rel=\"noopener\" target=\"_blank\">dwindling hip-hop community\u003c/a> in San Francisco, where the black population \u003ca href=\"https://ww2.kqed.org/news/2015/10/26/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area/\" rel=\"noopener\" target=\"_blank\">rapidly diminished under Lee\u003c/a> — did not respond to requests for comment. But his musical collaborator (and fellow \u003ca href=\"https://www.youtube.com/watch?v=6b2jsTGys8Y\" rel=\"noopener\" target=\"_blank\">Frisco Five\u003c/a> activist) Selassie took a \u003ca href=\"https://twitter.com/Sellassie/status/940682970993647616\" rel=\"noopener\" target=\"_blank\">conciliatory tone on Twitter\u003c/a>: “Even though we were adversaries in the ring of social justice in San Francisco, I respected him,” Selassie wrote. “Disagreed with him, but respected him as my elder. #RIP.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>Terri Winston, executive director of Women’s Audio Mission, which teaches women recording and engineering skills, says Lee was especially helpful when Women’s Audio Mission faced displacement in 2014.\u003c/p>\n\u003cp>“His support helped us keep the only professional recording studio in the world run by women in San Francisco and set us on the road to permanently owning our facility — which we now do,” Winston writes in an email to KQED Arts. “Mayor Ed Lee understood the importance of amplifying the voices of young women and girls of color and how our work was changing their relationship to technology.”\u003c/p>\n\u003cfigure id=\"attachment_13817505\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-800x1200.jpg\" alt=\"Josette Melchor of Gray Area Foundation with Mayor Ed Lee in 2011.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13817505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josette Melchor of Gray Area Foundation with Mayor Ed Lee in 2011. \u003ccite>(Courtesy Josette Melchor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That intersection of arts and tech was key to Lee’s efforts to revitalize the Central Market district, which he sought to populate with arts organizations and tech companies alike. It is also central to the mission of the Gray Area Foundation — and Josette Melchor, Gray Area’s founder and director, says that when she started in the Tenderloin, Lee’s support was crucial in helping them get their first city grant.\u003c/p>\n\u003cp>“Gray Area had only been a nonprofit at that point for like two years,” Melchor says. “Taking a risk on a young entrepreneur is always really hard for a government official to do, but that signaled more support from other departments, which was instrumental to our growth.”\u003c/p>\n\u003cp>When Gray Area leased the former Grand Theater on Mission Street in 2014, “it took us two years to get our permits through because of the historical nature of the building, on top of the backlog of permits with the city,” Melchor says. “We were on the brink of throwing our hands up.” \u003c/p>\n\u003cp>Melchor emailed Lee with her plight, and Lee responded within an hour. “He immediately got his staff on task,” Melchor says. “I don’t know if our project would have even happened without Ed Lee stepping up.\u003c/p>\n\u003cp>“I know a lot of people have negative things to say about what he did to support tech companies. On the other side, I know he was supporting arts groups as well — but I guess it wasn’t as big of a headline.”\u003c/p>\n\u003cfigure id=\"attachment_13809447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/ABADA%CC%81-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-800x501.jpg\" alt=\"\" width=\"800\" height=\"501\" class=\"size-medium wp-image-13809447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-1180x739.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-960x602.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-520x326.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ABADÁ-Capoiera performs on the steps of City Hall during San Francisco Arts Advocacy Day in March. \u003ccite>(Pax Ahimsa Gethen / funcrunch.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the same Mission District neighborhood is Galería de la Raza, whose director Ani Rivera first met Lee when he was the director of public works during the establishment of the Calle 24 Latino Cultural District.\u003c/p>\n\u003cp>“What I want to really honor and celebrate was his commitment to keeping San Francisco a sanctuary city,” Rivera says. In addition to his housing department’s \u003ca href=\"http://sfmayor.org/article/mayor-lee-announces-funding-small-site-acquisition-program-protect-longtime-san-francisco\" rel=\"noopener\" target=\"_blank\">Small Site Acquisition Program\u003c/a> for long-term residents, which directly helped Rivera stay in her home, it was Lee’s understanding that art and culture weren’t mutually exclusive that drove his neighborhood approach, says Rivera. “It was part of keeping people in place, and securing culture.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>“Securing culture” isn’t exactly how other artists would characterize Lee’s tenure. \u003c/p>\n\u003cp>“What’s always made this city special is the outsiders, and rebels, and people who never fit in anyplace else,” Shuffman says. “And under Ed Lee’s tenure, that was killed. You can’t be an artist in San Francisco anymore.”\u003c/p>\n\u003cp>Shuffman points to the many artists “living in warehouses or making stencils in their living rooms” who never had the benefit of grant writers and thus were forced to leave, eroding the cultural fabric of the city.\u003c/p>\n\u003cp>“While there has been criticism about the social fabric of the city, particularly with the influx of tech workers here, it’s tough to be the mayor,” says SFJAZZ’s executive director, Randall Kline. “It’s a no-win thing.” (The well-known artist \u003ca href=\"https://sillypinkbunnies.com/\" rel=\"noopener\" target=\"_blank\">Jeremy Fish\u003c/a>, who once had a day proclaimed in his honor by Lee while an \u003ca href=\"https://ww2.kqed.org/arts/2015/11/23/san-francisco-city-hall-illustrated-by-the-playful-provocative-jeremy-fish/\" rel=\"noopener\" target=\"_blank\">artist-in-residence at City Hall\u003c/a> for its centennial, says simply: “I don’t think people understand how hard a job that guy had.”)\u003c/p>\n\u003cfigure id=\"attachment_13817502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-800x450.jpg\" alt=\"Mayor Ed Lee speaks at a groundbreaking ceremony for SFJAZZ's new performance space and center in May 2011.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13817502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Ed Lee speaks at a groundbreaking ceremony for SFJAZZ’s new performance space and center in May 2011. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At least for SFJAZZ, Lee was a key part of the SFJAZZ Center being built and opening in Hayes Valley in 2013. “It was not an easy project to embark upon,” says Kline, recalling how the mayor swung a sledgehammer at the groundbreaking and helped push the project through. “We owe him a great deal of gratitude for that.”\u003c/p>\n\u003cp>With many jazz musicians having had to move to the East Bay or beyond, “One of the things I’m most concerned about is housing for artists,” Kline says.\u003c/p>\n\u003cp>“I believe there were things brewing to make the city more affordable for artists, more livable for artists,” Kline says. “And it’s such a shame, because if the right project were put in front of him, I know he’d support it.”\u003c/p>\n\u003cp>That complexity, of weighing so many priorities in a city facing myriad issues, is echoed by YBCA’s Jonathan Moscone.\u003c/p>\n\u003cp>“I’m just sad,” says Moscone, “that we lost a mayor who was really trying his best, in a very difficult context, to do right by a lot of constituents.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "While San Francisco artists faced unprecedented displacement and eviction, the mayor increased funding for many arts organizations.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday night, Dec. 8, Mayor Ed Lee was at Stevens Books in the Excelsior District of San Francisco, viewing the work of artist Aaron de la Cruz and talking with other artists who’d created storefront installations funded by the city. \u003c/p>\n\u003cp>Tom DeCaigny, cultural affairs director for the San Francisco Arts Commission, saw the mayor there that night. According to DeCaigny, Lee’s regular appearances at this and other local arts events prove the importance of the arts to the mayor, who suffered a heart attack and died Monday evening at age 65.\u003c/p>\n\u003cp>“I think he really saw the value of arts and culture, particularly at the neighborhood level,” DeCaigny says. “Many people have spoken about how he wasn’t a flashy politician. He much preferred meeting with a local artist, in a local storefront — and that’s where he was, late into the evening just last Friday, before he passed.”\u003c/p>\n\u003cfigure id=\"attachment_13817503\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-1020x1530.jpg\" alt=\"Mayor Ed Lee at a groundbreaking ceremony for SFJAZZ's new performance space and center in May 2011.\" width=\"640\" height=\"960\" class=\"size-large wp-image-13817503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.SFJAZZHardHat.jpg 1285w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Ed Lee at a groundbreaking ceremony for SFJAZZ’s new performance space and center in May 2011. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such stories about Lee’s embrace of the arts, however, clash with a prevailing narrative in San Francisco’s creative community: specifically, that Lee’s tech- and developer-friendly policies sparked rent increases, low vacancy rates, and evictions that cumulatively pushed artists out of the city.\u003c/p>\n\u003cp>A 2015 survey from DeCaigny’s own San Francisco Arts Commission (SFAC) showed that of 600 artists polled, \u003ca href=\"https://ww2.kqed.org/arts/2015/09/16/survey-confirms-market-forces-pushing-artists-out-of-san-francisco/\" rel=\"noopener\" target=\"_blank\">70 percent had been displaced\u003c/a> from their home or studio. (Multiple artists contacted for this piece did not want to go on the record, citing Lee’s too-recent death, before unleashing a string of words that either started with “F” or had to do with tech’s takeover of San Francisco.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stuart Shuffman, a.k.a. Broke-Ass Stuart, ran for Mayor against Lee in a 2015 election on a platform that included the protection of artists.\u003c/p>\n\u003cp>“When there are policies to help the rich get richer, you can’t be an artist in San Francisco anymore,” he says. “Art doesn’t come from the top. Art is a bottom-up thing. And when you push out all the working-class people, all the poor people and artists, you just get a boring-ass city.”\u003c/p>\n\u003cp>Lee should have been able to see the direct connection between his tech-friendly policies and artist displacement, Shuffman says — a stance shared by most artists he knows. “Ed Lee wasn’t out there personally evicting artists. I don’t think he was a bad person, and I’m sure he liked art and artists. But the policy of tech by any means necessary was harmful to the city.” \u003c/p>\n\u003cfigure id=\"attachment_13809567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-800x524.jpg\" alt=\"\" width=\"800\" height=\"524\" class=\"size-medium wp-image-13809567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-960x629.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838-520x341.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jonathan_Moscone_at_SF_Arts_Advocacy_Day_20170321-2838.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Moscone at San Francisco Arts Advocacy Day in 2017. \u003ccite>(Pax Ahimsa Gethen / funcrunch.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That conclusion — that Lee was friendly to tech and thus an enemy to artists — is an oversimplified one, says Jonathan Moscone, civic engagement chief at the Yerba Buena Center for the Arts and son of the late mayor George Moscone.\u003c/p>\n\u003cp>“There are a lot of forces that make arts difficult to sustain, in \u003cem>any\u003c/em> city in this country,” says Moscone. “I don’t think it’s a one-to-one ratio that tech caused this, considering the complexity of issues that San Francisco faces.”\u003c/p>\n\u003cp>Moscone was the leading proponent of Prop. S, a \u003ca href=\"https://ww2.kqed.org/arts/2016/05/27/sf-arts-and-homeless-organizations-join-forces-to-secure-more-city-funding/\" rel=\"noopener\" target=\"_blank\">2016 hotel tax initiative\u003c/a> that would have restored lost funding for the arts. Lee did not come out publicly for the proposal, and it failed at the polls by a narrow margin. Despite that, Moscone says, he understands that Lee had other priorities, and “insofar as we were able to get his ear, he did love the arts, that was very clear.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>Those in nonprofit arts organizations around the city echo the sentiment — that though Lee may not have loudly campaigned for the arts, he did understand their importance, and worked behind the scenes to mitigate the creative class’ exodus from San Francisco. Often that involved committees, meetings, boards, grants and other “not-so-sexy to the public” activities, says DeCaigny, but had tangible, and massive, results.\u003c/p>\n\u003cp>“One of his signature accomplishments was a historic \u003ca href=\"https://www.sfstation.com/2015/06/05/sf-commits-7-million-to-support-the-arts/\" rel=\"noopener\" target=\"_blank\">million-dollar increase to the Cultural Equity Endowment\u003c/a>. That’s the endowment that the Arts Commission manages that grants to both individual artists and small, mid-sized budget arts nonprofit organizations,” says DeCaigny of the 50-percent increase. “That endowment had been around for 20 years, so it’s something to say that it hadn’t been done before.”\u003c/p>\n\u003cp>Also as a result of that 2015 funding package, the \u003ca href=\"http://cast-sf.org/\" rel=\"noopener\" target=\"_blank\">Community Arts Stabilization Trust\u003c/a> (CAST) was able to secure long-term leases for both the Luggage Store Gallery and CounterPulse, both well-loved institutions. Moy Eng, CAST’s executive director, characterizes Lee’s approach with the funding package as “not just a kicking the can down the road, but finding a long-term and permanent solution.”\u003c/p>\n\u003cfigure id=\"attachment_11539534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-800x450.jpg\" alt=\"Equipto.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11539534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Equipto.MAIN_.jpg 1595w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Equipto, hip-hop artist and member of the ‘Frisco Five’ who personally addressed Mayor Ed Lee in a widely shared video.\u003c/figcaption>\u003c/figure>\n\u003cp>And yet in San Francisco, those approaches — wonky, not easy to digest, full of bureaucracy — didn’t quell his critics. Perhaps the loudest artist expressing anger toward Lee was longtime San Francisco hip-hop artist Equipto, who confronted the mayor at Max’s Opera Cafe in 2015. “You have no heart, man,” the rapper told him in a \u003ca href=\"https://www.facebook.com/equipto415/videos/1033058506733989/\" rel=\"noopener\" target=\"_blank\">widely shared video\u003c/a>. “The people that built this city, you’re kickin’ ’em all out of here, man. You’re a part of it, I know you are.” \u003c/p>\n\u003cp>Equipto — part of a \u003ca href=\"http://wineandbowties.com/music/four-one-fivin-san-francisco-rap-aint-dead-yet/\" rel=\"noopener\" target=\"_blank\">dwindling hip-hop community\u003c/a> in San Francisco, where the black population \u003ca href=\"https://ww2.kqed.org/news/2015/10/26/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area/\" rel=\"noopener\" target=\"_blank\">rapidly diminished under Lee\u003c/a> — did not respond to requests for comment. But his musical collaborator (and fellow \u003ca href=\"https://www.youtube.com/watch?v=6b2jsTGys8Y\" rel=\"noopener\" target=\"_blank\">Frisco Five\u003c/a> activist) Selassie took a \u003ca href=\"https://twitter.com/Sellassie/status/940682970993647616\" rel=\"noopener\" target=\"_blank\">conciliatory tone on Twitter\u003c/a>: “Even though we were adversaries in the ring of social justice in San Francisco, I respected him,” Selassie wrote. “Disagreed with him, but respected him as my elder. #RIP.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>Terri Winston, executive director of Women’s Audio Mission, which teaches women recording and engineering skills, says Lee was especially helpful when Women’s Audio Mission faced displacement in 2014.\u003c/p>\n\u003cp>“His support helped us keep the only professional recording studio in the world run by women in San Francisco and set us on the road to permanently owning our facility — which we now do,” Winston writes in an email to KQED Arts. “Mayor Ed Lee understood the importance of amplifying the voices of young women and girls of color and how our work was changing their relationship to technology.”\u003c/p>\n\u003cfigure id=\"attachment_13817505\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-800x1200.jpg\" alt=\"Josette Melchor of Gray Area Foundation with Mayor Ed Lee in 2011.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13817505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Melchor.Lee_.2011-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josette Melchor of Gray Area Foundation with Mayor Ed Lee in 2011. \u003ccite>(Courtesy Josette Melchor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That intersection of arts and tech was key to Lee’s efforts to revitalize the Central Market district, which he sought to populate with arts organizations and tech companies alike. It is also central to the mission of the Gray Area Foundation — and Josette Melchor, Gray Area’s founder and director, says that when she started in the Tenderloin, Lee’s support was crucial in helping them get their first city grant.\u003c/p>\n\u003cp>“Gray Area had only been a nonprofit at that point for like two years,” Melchor says. “Taking a risk on a young entrepreneur is always really hard for a government official to do, but that signaled more support from other departments, which was instrumental to our growth.”\u003c/p>\n\u003cp>When Gray Area leased the former Grand Theater on Mission Street in 2014, “it took us two years to get our permits through because of the historical nature of the building, on top of the backlog of permits with the city,” Melchor says. “We were on the brink of throwing our hands up.” \u003c/p>\n\u003cp>Melchor emailed Lee with her plight, and Lee responded within an hour. “He immediately got his staff on task,” Melchor says. “I don’t know if our project would have even happened without Ed Lee stepping up.\u003c/p>\n\u003cp>“I know a lot of people have negative things to say about what he did to support tech companies. On the other side, I know he was supporting arts groups as well — but I guess it wasn’t as big of a headline.”\u003c/p>\n\u003cfigure id=\"attachment_13809447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/ABADA%CC%81-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-800x501.jpg\" alt=\"\" width=\"800\" height=\"501\" class=\"size-medium wp-image-13809447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-1180x739.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-960x602.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560-520x326.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ABADÁ-Capoiera_at_SF_Arts_Advocacy_Day_20170321-2560.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ABADÁ-Capoiera performs on the steps of City Hall during San Francisco Arts Advocacy Day in March. \u003ccite>(Pax Ahimsa Gethen / funcrunch.org)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the same Mission District neighborhood is Galería de la Raza, whose director Ani Rivera first met Lee when he was the director of public works during the establishment of the Calle 24 Latino Cultural District.\u003c/p>\n\u003cp>“What I want to really honor and celebrate was his commitment to keeping San Francisco a sanctuary city,” Rivera says. In addition to his housing department’s \u003ca href=\"http://sfmayor.org/article/mayor-lee-announces-funding-small-site-acquisition-program-protect-longtime-san-francisco\" rel=\"noopener\" target=\"_blank\">Small Site Acquisition Program\u003c/a> for long-term residents, which directly helped Rivera stay in her home, it was Lee’s understanding that art and culture weren’t mutually exclusive that drove his neighborhood approach, says Rivera. “It was part of keeping people in place, and securing culture.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>“Securing culture” isn’t exactly how other artists would characterize Lee’s tenure. \u003c/p>\n\u003cp>“What’s always made this city special is the outsiders, and rebels, and people who never fit in anyplace else,” Shuffman says. “And under Ed Lee’s tenure, that was killed. You can’t be an artist in San Francisco anymore.”\u003c/p>\n\u003cp>Shuffman points to the many artists “living in warehouses or making stencils in their living rooms” who never had the benefit of grant writers and thus were forced to leave, eroding the cultural fabric of the city.\u003c/p>\n\u003cp>“While there has been criticism about the social fabric of the city, particularly with the influx of tech workers here, it’s tough to be the mayor,” says SFJAZZ’s executive director, Randall Kline. “It’s a no-win thing.” (The well-known artist \u003ca href=\"https://sillypinkbunnies.com/\" rel=\"noopener\" target=\"_blank\">Jeremy Fish\u003c/a>, who once had a day proclaimed in his honor by Lee while an \u003ca href=\"https://ww2.kqed.org/arts/2015/11/23/san-francisco-city-hall-illustrated-by-the-playful-provocative-jeremy-fish/\" rel=\"noopener\" target=\"_blank\">artist-in-residence at City Hall\u003c/a> for its centennial, says simply: “I don’t think people understand how hard a job that guy had.”)\u003c/p>\n\u003cfigure id=\"attachment_13817502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-800x450.jpg\" alt=\"Mayor Ed Lee speaks at a groundbreaking ceremony for SFJAZZ's new performance space and center in May 2011.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13817502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/EdLee.May6_.SFJAZZ-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Ed Lee speaks at a groundbreaking ceremony for SFJAZZ’s new performance space and center in May 2011. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At least for SFJAZZ, Lee was a key part of the SFJAZZ Center being built and opening in Hayes Valley in 2013. “It was not an easy project to embark upon,” says Kline, recalling how the mayor swung a sledgehammer at the groundbreaking and helped push the project through. “We owe him a great deal of gratitude for that.”\u003c/p>\n\u003cp>With many jazz musicians having had to move to the East Bay or beyond, “One of the things I’m most concerned about is housing for artists,” Kline says.\u003c/p>\n\u003cp>“I believe there were things brewing to make the city more affordable for artists, more livable for artists,” Kline says. “And it’s such a shame, because if the right project were put in front of him, I know he’d support it.”\u003c/p>\n\u003cp>That complexity, of weighing so many priorities in a city facing myriad issues, is echoed by YBCA’s Jonathan Moscone.\u003c/p>\n\u003cp>“I’m just sad,” says Moscone, “that we lost a mayor who was really trying his best, in a very difficult context, to do right by a lot of constituents.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
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