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"content": "\u003cp>You’re probably read reports about “\u003ca href=\"https://www.axios.com/2024/01/10/gen-z-jazz-comeback-trend\">the jazz revival\u003c/a>” every year for the past 10 years, with a different framing each time. Millennials! Kendrick! London! Spiritual jazz! Chicago! Robert Glasper! Japan! Laufey! Gen Z!\u003c/p>\n\u003cp>The fact is, in the Bay Area (\u003cem>as in every major city in the world\u003c/em>), jazz has never gone away. The mainstream pokes its head in every once in a while and goes, “huh, cool,” and \u003ca href=\"https://business.pinterest.com/pinterest-predicts/2024/jazz-revival/\">Pinterest mood boards light up for a while\u003c/a>. But you can’t revive something that’s already alive and well.\u003c/p>\n\u003cp>For proof, look no further than the variety of venues hosting jazz in the Bay Area this fall: rock clubs, folk havens, big theaters, back rooms, basements and concert halls. Read on for our picks of the next few months’ best jazz shows.\u003c/p>\n\u003cfigure id=\"attachment_13963173\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963173\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg\" alt=\"\" width=\"1920\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1536x1097.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">James Brandon Lewis (at right) and the Messthetics. \u003ccite>(Shervin Lainez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/the-messthetics-and-james-brandon-lewis/601914?afflky=RickshawStop\">The Messthetics with James Brandon Lewis\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Rickshaw Stop, San Francisco\u003c/em>\u003c/p>\n\u003cp>They’re one of the all-time great punk rhythm sections: former Fugazi bassist Joe Lally and drummer Brendan Canty. Throw in a guitarist equally adept at angular solos as \u003ca href=\"https://www.youtube.com/watch?v=QMsT4KoWWHs\">noisy chords and melodic riffs\u003c/a>, and a saxophonist known for avant-garde live sets, and you’ve got a quartet ready to take you on an unforgettable ride. I routinely advocate for jazz getting into non-jazz spaces like rock clubs — this may be the first time a group signed to Impulse Records plays at the Rickshaw Stop.\u003c/p>\n\u003cfigure id=\"attachment_13963168\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963168\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg\" alt=\"\" width=\"2000\" height=\"1428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1920x1371.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jazzmeia Horn. \u003ccite>(Drew Bordeaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/jazzmeia-horn/detail\">Jazzmeia Horn\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yoshi’s may have a reputation for \u003ca href=\"https://yoshis.com/events/buy-tickets/freddie-jackson-8/detail\">R&B\u003c/a> and \u003ca href=\"https://yoshis.com/events/buy-tickets/spyro-gyra-50th-anniversary/detail\">fusion\u003c/a> these days (and, increasingly, the occasional \u003ca href=\"https://yoshis.com/events/buy-tickets/doug-e-fresh/detail\">hip-hop veteran\u003c/a>), but straight-ahead jazz still has a cozy home at the venerable club. As examples, see upcoming shows by saxophonist \u003ca href=\"https://yoshis.com/events/buy-tickets/kenny-garrett-2/detail\">Kenny Garrett (Nov. 1)\u003c/a> or pianist \u003ca href=\"https://yoshis.com/events/buy-tickets/benny-green-1/detail\">Benny Green (Nov. 20)\u003c/a> — or, this Monday night show with rising phenomenon Jazzmeia Horn, a dazzling singer who delivers full-throated belters and hushed ballads with emotional precision.\u003c/p>\n\u003cfigure id=\"attachment_13963167\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963167\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg\" alt=\"\" width=\"1024\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-768x513.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Khalil El’Zabar. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/kahil-elzabar-ethnic-heritage-ensemble-106300\">Khalil El’Zabar and the Ethnic Heritage Ensemble\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 17, 2024\u003c/em>\u003cbr>\n\u003cem>Cornerstone, Berkeley\u003c/em>\u003c/p>\n\u003cp>If you’re already plotting to see the \u003ca href=\"https://www.instagram.com/greatamericanmusichall/p/C--7F80NpiI/\">Sun Ra Arkestra’s three-night residency\u003c/a> at the Great American Music Hall in November, consider this a nearly required pre-game. Performing what he calls “improvised soul,” Khalil El’Zabar formed the Ethnic Heritage Ensemble in the 1970s and has spread its soothing musical balm ever since. Most recently seen in the Bay Area for a duo performance with saxman David Murray, El’Zabar returns to do what he’s done best for over 50 years.\u003c/p>\n\u003cfigure id=\"attachment_13963169\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963169\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg\" alt=\"\" width=\"1440\" height=\"1029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-768x549.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Kenneth Whalum. \u003ccite>(Secretly Canadian Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.turntabletickets.com/r/kenneth-whalum\">Kenneth Whalum\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 19-22, 2024\u003c/em>\u003cbr>\n\u003cem>Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>Hot on the heels of an \u003ca href=\"https://blackcatsf.turntabletickets.com/r/isaiah-collier-the-chosen-few\">Isaiah Collier residency\u003c/a> (Sept. 12–15), the Black Cat brings back Kenneth Whalum for four sure-to-be-packed nights. A saxophonist and former backup singer for Maxwell, Kenneth Whalum has carved his own path of modern, off-kilter soul. Skittering drum patterns and effective loops underpin his heart-on-the-sleeve songwriting, and in a small basement club like the Black Cat, the effect is mesmerizing.\u003c/p>\n\u003cfigure id=\"attachment_13963172\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963172\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg\" alt=\"\" width=\"2000\" height=\"1429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1920x1372.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marcos Valle. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://theuctheatre.org/events/buy-tickets/jazz-is-dead-marcos-valle/detail\">Marcos Valle and Azymuth\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024\u003c/em>\u003cbr>\n\u003cem>UC Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>Once the haven for midnight screenings of \u003cem>The Rocky Horror Picture Show\u003c/em> as well as the site of film director Werner Herzog’s famous \u003ca href=\"https://en.wikipedia.org/wiki/Werner_Herzog_Eats_His_Shoe\">shoe-eating\u003c/a>, the UC Theatre has of late become a home for international musicians making rare appearances on U.S. shores. After exciting bookings of Ethiopian jazz master Mulatu Astatke and Brazilian legend Arthur Verocai, the University Avenue landmark hosts Brazilian artist Marcos Valle, whose fluency in bossa nova, samba and pop is augmented by Brazilian jazz fusion trio Azymuth on this singular double bill.\u003c/p>\n\u003cfigure id=\"attachment_13963171\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963171\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marc Ribot. \u003ccite>(Sandlin Gaither)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/marc-ribot-70th-birthday-celebration/\">Marc Ribot 70th Birthday with Mary Halvorsen\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024 at SFJAZZ, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 23, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003c/p>\n\u003cp>Marc Ribot is the original snake-charmer guitarist, having added just the right Eric Dolphy-coded textures to Tom Waits’ 1980s work in New York City. In the years since, whether as a member of John Zorn’s Electric Masada or \u003ca href=\"https://www.youtube.com/watch?v=GALmP_PxzAI\">leading a trio at the Village Vanguard\u003c/a>, he’s shown that his enduring well of ideas has no bottom. For these shows, with a group including the exceptionally gifted guitarist Mary Halvorsen, Ribot celebrates his 70th birthday in style.\u003c/p>\n\u003cfigure id=\"attachment_13963174\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963174\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg\" alt=\"\" width=\"1366\" height=\"976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-768x549.jpg 768w\" sizes=\"auto, (max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">Michael Feinstein. \u003ccite>(Art Streiber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://gmc.sonoma.edu/michael-feinstein/\">Michael Feinstein: A Tribute to Tony Bennett\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6, 2024\u003c/em>\u003cbr>\n\u003cem>Green Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>A cabaret legend whose San Francisco club \u003ca href=\"https://www.feinsteinssf.com/\">Feinstein’s at the Nikko\u003c/a> is an oasis for the Great American Songbook, Michael Feinstein has been missing Tony Bennett. (\u003ca href=\"https://www.kqed.org/arts/13931922/tony-bennett-san-francisco-remembrance\">Haven’t we all?\u003c/a>) In this tribute to his friend, who died last year at 96, Feinstein sings Bennett’s classics — “Fly Me to the Moon,” “The Best Is Yet to Come” — backed by the Carnegie Hall Jazz Ensemble and interspersed with his own remembrances and anecdotes of the man.\u003c/p>\n\u003cfigure id=\"attachment_13963165\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963165\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg\" alt=\"\" width=\"1365\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-768x768.jpg 768w\" sizes=\"auto, (max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Amina Scott. \u003ccite>(Camille Lenain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/amina-scott-debut-album-tour-where-the-wild-seed-grows-tickets-912255489727?aff=odcleoeventsincollection\">Amina Scott\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 26, 2024\u003c/em>\u003cbr>\n\u003cem>The Back Room, Berkeley\u003c/em>\u003c/p>\n\u003cp>Amina Scott may live in New Orleans now, but like \u003ca href=\"https://www.kqed.org/news/11996974/lateefah-simon-on-kamala-harris-bay-area-roots\">a certain presidential candidate\u003c/a>, the bassist hasn’t forgotten her Oakland roots. Last seen in the Bay Area holding down the low end for Howard Wiley’s set of Gospel-influenced numbers, Scott returns to lead her own group on a tour for her debut album, \u003cem>Where the Wild Seed Grows\u003c/em> — at the cozy and intimate Back Room, no less.\u003c/p>\n\u003cfigure id=\"attachment_13963166\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963166\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg\" alt=\"\" width=\"1436\" height=\"809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-768x433.jpg 768w\" sizes=\"auto, (max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Brian Blade, Danilo Pérez and John Patitucci. \u003ccite>(Mack Avenue Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/danilo-perez-john-patitucci-brian-blade-mark-turner/\">Danilo Pérez, John Patitucci, Brian Blade\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 28, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003cbr>\n\u003cem>Oct. 31-Nov. 1 at SFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>As Wayne Shorter’s longtime working unit, there is no better group to honor the late saxophonist and composer than Danilo Pérez, John Patitucci and Brian Blade. Shorter’s compositions offer so much space for exploration, and with the addition of Mark Turner on saxophone to fill Shorter’s huge shoes, expect a journey that’ll leave many footprints. (The following week at SFJAZZ on Nov. 2 and 3, the \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/vijay-iyer-trio/\">trio of Vijay Iyer, Tyshawn Storey and Linda May Han Oh\u003c/a> leads some deep explorations of their own.)\u003c/p>\n\u003cfigure id=\"attachment_13963170\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963170\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg\" alt=\"\" width=\"1365\" height=\"975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-768x549.jpg 768w\" sizes=\"auto, (max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Lizz Wright. \u003ccite>(Hollis King.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.thefreight.org/14382/lizz-wright-1115\">Lizz Wright\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 15, 2024\u003c/em>\u003cbr>\n\u003cem>Freight & Salvage, Berkeley\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As a listening room in the folk tradition, Freight & Salvage isn’t exactly famous for jazz. But Lizz Wright has also proven to be a shapeshifter: raised in the church in Georgia, she moves between styles fluidly with her beautiful voice. The twangy “Sweet Feeling,” from her latest album \u003cem>Shadow\u003c/em>, could fit right in on any acoustic setlist at the Freight on your average weekend. This marks an opportunity to see her in an intimate, quiet setting.\u003c/p>\n\n",
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"excerpt": "Jazz takes over rock clubs, theaters, basements and concert halls in the Bay Area this fall. ",
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"title": "The 10 Best Jazz Shows in the Bay Area This Fall | KQED",
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"headline": "The 10 Best Jazz Shows in the Bay Area This Fall",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’re probably read reports about “\u003ca href=\"https://www.axios.com/2024/01/10/gen-z-jazz-comeback-trend\">the jazz revival\u003c/a>” every year for the past 10 years, with a different framing each time. Millennials! Kendrick! London! Spiritual jazz! Chicago! Robert Glasper! Japan! Laufey! Gen Z!\u003c/p>\n\u003cp>The fact is, in the Bay Area (\u003cem>as in every major city in the world\u003c/em>), jazz has never gone away. The mainstream pokes its head in every once in a while and goes, “huh, cool,” and \u003ca href=\"https://business.pinterest.com/pinterest-predicts/2024/jazz-revival/\">Pinterest mood boards light up for a while\u003c/a>. But you can’t revive something that’s already alive and well.\u003c/p>\n\u003cp>For proof, look no further than the variety of venues hosting jazz in the Bay Area this fall: rock clubs, folk havens, big theaters, back rooms, basements and concert halls. Read on for our picks of the next few months’ best jazz shows.\u003c/p>\n\u003cfigure id=\"attachment_13963173\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963173\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg\" alt=\"\" width=\"1920\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/messthetics_-shervin-lainez-1-1536x1097.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">James Brandon Lewis (at right) and the Messthetics. \u003ccite>(Shervin Lainez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/the-messthetics-and-james-brandon-lewis/601914?afflky=RickshawStop\">The Messthetics with James Brandon Lewis\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Rickshaw Stop, San Francisco\u003c/em>\u003c/p>\n\u003cp>They’re one of the all-time great punk rhythm sections: former Fugazi bassist Joe Lally and drummer Brendan Canty. Throw in a guitarist equally adept at angular solos as \u003ca href=\"https://www.youtube.com/watch?v=QMsT4KoWWHs\">noisy chords and melodic riffs\u003c/a>, and a saxophonist known for avant-garde live sets, and you’ve got a quartet ready to take you on an unforgettable ride. I routinely advocate for jazz getting into non-jazz spaces like rock clubs — this may be the first time a group signed to Impulse Records plays at the Rickshaw Stop.\u003c/p>\n\u003cfigure id=\"attachment_13963168\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963168\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg\" alt=\"\" width=\"2000\" height=\"1428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/jazzmeia.Drew_.Bordeaux-1920x1371.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jazzmeia Horn. \u003ccite>(Drew Bordeaux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/jazzmeia-horn/detail\">Jazzmeia Horn\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10, 2024\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yoshi’s may have a reputation for \u003ca href=\"https://yoshis.com/events/buy-tickets/freddie-jackson-8/detail\">R&B\u003c/a> and \u003ca href=\"https://yoshis.com/events/buy-tickets/spyro-gyra-50th-anniversary/detail\">fusion\u003c/a> these days (and, increasingly, the occasional \u003ca href=\"https://yoshis.com/events/buy-tickets/doug-e-fresh/detail\">hip-hop veteran\u003c/a>), but straight-ahead jazz still has a cozy home at the venerable club. As examples, see upcoming shows by saxophonist \u003ca href=\"https://yoshis.com/events/buy-tickets/kenny-garrett-2/detail\">Kenny Garrett (Nov. 1)\u003c/a> or pianist \u003ca href=\"https://yoshis.com/events/buy-tickets/benny-green-1/detail\">Benny Green (Nov. 20)\u003c/a> — or, this Monday night show with rising phenomenon Jazzmeia Horn, a dazzling singer who delivers full-throated belters and hushed ballads with emotional precision.\u003c/p>\n\u003cfigure id=\"attachment_13963167\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963167\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg\" alt=\"\" width=\"1024\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ezgif-5-dc0df115fa-768x513.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Khalil El’Zabar. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/kahil-elzabar-ethnic-heritage-ensemble-106300\">Khalil El’Zabar and the Ethnic Heritage Ensemble\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 17, 2024\u003c/em>\u003cbr>\n\u003cem>Cornerstone, Berkeley\u003c/em>\u003c/p>\n\u003cp>If you’re already plotting to see the \u003ca href=\"https://www.instagram.com/greatamericanmusichall/p/C--7F80NpiI/\">Sun Ra Arkestra’s three-night residency\u003c/a> at the Great American Music Hall in November, consider this a nearly required pre-game. Performing what he calls “improvised soul,” Khalil El’Zabar formed the Ethnic Heritage Ensemble in the 1970s and has spread its soothing musical balm ever since. Most recently seen in the Bay Area for a duo performance with saxman David Murray, El’Zabar returns to do what he’s done best for over 50 years.\u003c/p>\n\u003cfigure id=\"attachment_13963169\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963169\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg\" alt=\"\" width=\"1440\" height=\"1029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kenneth.whalum.crwed_.broken.land_-768x549.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Kenneth Whalum. \u003ccite>(Secretly Canadian Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.turntabletickets.com/r/kenneth-whalum\">Kenneth Whalum\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 19-22, 2024\u003c/em>\u003cbr>\n\u003cem>Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>Hot on the heels of an \u003ca href=\"https://blackcatsf.turntabletickets.com/r/isaiah-collier-the-chosen-few\">Isaiah Collier residency\u003c/a> (Sept. 12–15), the Black Cat brings back Kenneth Whalum for four sure-to-be-packed nights. A saxophonist and former backup singer for Maxwell, Kenneth Whalum has carved his own path of modern, off-kilter soul. Skittering drum patterns and effective loops underpin his heart-on-the-sleeve songwriting, and in a small basement club like the Black Cat, the effect is mesmerizing.\u003c/p>\n\u003cfigure id=\"attachment_13963172\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963172\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg\" alt=\"\" width=\"2000\" height=\"1429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Marcos-Valle-1920x1372.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marcos Valle. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://theuctheatre.org/events/buy-tickets/jazz-is-dead-marcos-valle/detail\">Marcos Valle and Azymuth\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024\u003c/em>\u003cbr>\n\u003cem>UC Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>Once the haven for midnight screenings of \u003cem>The Rocky Horror Picture Show\u003c/em> as well as the site of film director Werner Herzog’s famous \u003ca href=\"https://en.wikipedia.org/wiki/Werner_Herzog_Eats_His_Shoe\">shoe-eating\u003c/a>, the UC Theatre has of late become a home for international musicians making rare appearances on U.S. shores. After exciting bookings of Ethiopian jazz master Mulatu Astatke and Brazilian legend Arthur Verocai, the University Avenue landmark hosts Brazilian artist Marcos Valle, whose fluency in bossa nova, samba and pop is augmented by Brazilian jazz fusion trio Azymuth on this singular double bill.\u003c/p>\n\u003cfigure id=\"attachment_13963171\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963171\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/marc_ribot_photo_by_sandlin_gaither-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marc Ribot. \u003ccite>(Sandlin Gaither)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/marc-ribot-70th-birthday-celebration/\">Marc Ribot 70th Birthday with Mary Halvorsen\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22, 2024 at SFJAZZ, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 23, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003c/p>\n\u003cp>Marc Ribot is the original snake-charmer guitarist, having added just the right Eric Dolphy-coded textures to Tom Waits’ 1980s work in New York City. In the years since, whether as a member of John Zorn’s Electric Masada or \u003ca href=\"https://www.youtube.com/watch?v=GALmP_PxzAI\">leading a trio at the Village Vanguard\u003c/a>, he’s shown that his enduring well of ideas has no bottom. For these shows, with a group including the exceptionally gifted guitarist Mary Halvorsen, Ribot celebrates his 70th birthday in style.\u003c/p>\n\u003cfigure id=\"attachment_13963174\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963174\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg\" alt=\"\" width=\"1366\" height=\"976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/michael.feinstein.art_.streiber-768x549.jpg 768w\" sizes=\"auto, (max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">Michael Feinstein. \u003ccite>(Art Streiber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://gmc.sonoma.edu/michael-feinstein/\">Michael Feinstein: A Tribute to Tony Bennett\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6, 2024\u003c/em>\u003cbr>\n\u003cem>Green Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>A cabaret legend whose San Francisco club \u003ca href=\"https://www.feinsteinssf.com/\">Feinstein’s at the Nikko\u003c/a> is an oasis for the Great American Songbook, Michael Feinstein has been missing Tony Bennett. (\u003ca href=\"https://www.kqed.org/arts/13931922/tony-bennett-san-francisco-remembrance\">Haven’t we all?\u003c/a>) In this tribute to his friend, who died last year at 96, Feinstein sings Bennett’s classics — “Fly Me to the Moon,” “The Best Is Yet to Come” — backed by the Carnegie Hall Jazz Ensemble and interspersed with his own remembrances and anecdotes of the man.\u003c/p>\n\u003cfigure id=\"attachment_13963165\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963165\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg\" alt=\"\" width=\"1365\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Amina.Scott_.Camille.Lenain-768x768.jpg 768w\" sizes=\"auto, (max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Amina Scott. \u003ccite>(Camille Lenain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/amina-scott-debut-album-tour-where-the-wild-seed-grows-tickets-912255489727?aff=odcleoeventsincollection\">Amina Scott\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 26, 2024\u003c/em>\u003cbr>\n\u003cem>The Back Room, Berkeley\u003c/em>\u003c/p>\n\u003cp>Amina Scott may live in New Orleans now, but like \u003ca href=\"https://www.kqed.org/news/11996974/lateefah-simon-on-kamala-harris-bay-area-roots\">a certain presidential candidate\u003c/a>, the bassist hasn’t forgotten her Oakland roots. Last seen in the Bay Area holding down the low end for Howard Wiley’s set of Gospel-influenced numbers, Scott returns to lead her own group on a tour for her debut album, \u003cem>Where the Wild Seed Grows\u003c/em> — at the cozy and intimate Back Room, no less.\u003c/p>\n\u003cfigure id=\"attachment_13963166\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963166\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg\" alt=\"\" width=\"1436\" height=\"809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue.jpg 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blade.perez_.patitucci.mack_.avenue-768x433.jpg 768w\" sizes=\"auto, (max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Brian Blade, Danilo Pérez and John Patitucci. \u003ccite>(Mack Avenue Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/danilo-perez-john-patitucci-brian-blade-mark-turner/\">Danilo Pérez, John Patitucci, Brian Blade\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 28, 2024 at Kwuumba Jazz Center, Santa Cruz\u003c/em>\u003cbr>\n\u003cem>Oct. 31-Nov. 1 at SFJAZZ, San Francisco\u003c/em>\u003c/p>\n\u003cp>As Wayne Shorter’s longtime working unit, there is no better group to honor the late saxophonist and composer than Danilo Pérez, John Patitucci and Brian Blade. Shorter’s compositions offer so much space for exploration, and with the addition of Mark Turner on saxophone to fill Shorter’s huge shoes, expect a journey that’ll leave many footprints. (The following week at SFJAZZ on Nov. 2 and 3, the \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/vijay-iyer-trio/\">trio of Vijay Iyer, Tyshawn Storey and Linda May Han Oh\u003c/a> leads some deep explorations of their own.)\u003c/p>\n\u003cfigure id=\"attachment_13963170\" class=\"wp-caption aligncenter\" style=\"max-width: 1365px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963170\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg\" alt=\"\" width=\"1365\" height=\"975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/lizzwright.hollisking-768x549.jpg 768w\" sizes=\"auto, (max-width: 1365px) 100vw, 1365px\">\u003cfigcaption class=\"wp-caption-text\">Lizz Wright. \u003ccite>(Hollis King.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.thefreight.org/14382/lizz-wright-1115\">Lizz Wright\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 15, 2024\u003c/em>\u003cbr>\n\u003cem>Freight & Salvage, Berkeley\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a listening room in the folk tradition, Freight & Salvage isn’t exactly famous for jazz. But Lizz Wright has also proven to be a shapeshifter: raised in the church in Georgia, she moves between styles fluidly with her beautiful voice. The twangy “Sweet Feeling,” from her latest album \u003cem>Shadow\u003c/em>, could fit right in on any acoustic setlist at the Freight on your average weekend. This marks an opportunity to see her in an intimate, quiet setting.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“The outer space beings are my brothers. They sent me here.”\u003c/p>\n\u003cp>So spoke the composer and pianist Sun Ra, who famously claimed to have traveled from Saturn to bring a message of peace and love to Earth. Having first emerged in the Chicago jazz scene of the 1940s, Ra swiftly gained notoriety for his self-created sci-fi mythology, theatrical live shows and experimental musical instincts. Often in resplendent headgear suggestive of an Egyptian god, Ra was as gifted at writing indelible melodies (“Outer Spaceways Incorporated,” “Space is the Place”) as leading his “Arkestra” in freakouts like “Atlantis” and “The Magic City.”\u003c/p>\n\u003cp>Sooner or later, a composer with such an illustrious and eccentric career will cross paths with the \u003ca href=\"https://www.kqed.org/arts/tag/kronos-quartet\">Kronos Quartet\u003c/a>. Ra died in 1993, and never collaborated with the quartet during his lifetime. But his music fits perfectly with the avant-garde repertoire of the long-running San Francisco ensemble.\u003c/p>\n\u003cfigure id=\"attachment_13959893\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nacio%CC%81n-Imago-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Kronos Quartet performance in Guadalajara, Mexico. \u003ccite>(Nación Imago)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He feels like part of our posse of composers,” says founding Kronos member and first violinist David Harrington. “It feels very natural to be a part of his music and to create new limbs in the tree of our work. If he were around today, he would be in a Kronos rehearsal without any question, or we would be in a Sun Ra rehearsal without question.”\u003c/p>\n\u003cp>Ra’s compositions and Kronos’s strings form the core of \u003cem>Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra\u003c/em>, a collaboration with a host of guests from throughout the spectra of jazz, new music, and even EDM. The album includes interpretations of Ra’s compositions, pieces inspired by Ra written by other composers, and new works that use samples of Ra’s original recordings provided by Ra’s archivist, the outré-music scholar Irwin Chusid. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='news_11941785']The project was organized by John Carlin, founder of Red Hot, a New York-based nonprofit founded in 1990 known for organizing high-profile tribute albums to raise awareness of issues such as AIDS and climate change. This is Carlin’s fourth album honoring Ra, and the only one entirely in collaboration with Kronos, who first worked with Red Hot on the 2009 compilation \u003cem>Dark Was the Night\u003c/em>.\u003c/p>\n\u003cp>“David [Harrington] and I had a very particular agenda, which was to make sure that Sun Ra was thought of as a significant 20th century American composer,” says Carlin.\u003c/p>\n\u003cp>Carlin believes Ra’s emphasis on “the collective” rather than individual ego is one of the most important qualities in his work. As such, Carlin and the Quartet tapped a vast swath of collaborators from across the left-field music world to appear on the album.\u003c/p>\n\u003cfigure id=\"attachment_13959897\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways.jpg\" alt=\"A composite image of a man, seen from behind, walking into the galaxy of stars and nebulae\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13959897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-768x768.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for ‘Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra.’ \u003ccite>(Red Hot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marshall Allen, the saxophonist who at the age of 100 continues to lead Ra’s Arkestra with vigor and enthusiasm, appears. So do art-music legends Laurie Anderson and Terry Riley; electronic producers Jlin and RP Boo from the Chicago area’s highly experimental footwork scene; and Laraaji, who released some of the earliest ambient recordings in the 1970s and early 1980s both solo and in collaboration with Brian Eno.\u003c/p>\n\u003cp>Laraaji, who shared a bill with the Arkestra at Children’s Fairyland in Oakland last year, had the chance to see Sun Ra perform twice in the early 1980s. \u003c/p>\n\u003cp>“The dancers and the musicians all wore very bright, resplendent, cosmic-centric outfits,” the New York-based composer recalls. “And the music was nothing I could hum. It relaxed me from the rather straight, rigid Western compositional space that I had been educated in.”\u003c/p>\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1852828604/size=small/bgcol=ffffff/linkcol=0687f5/track=1836229666/transparent=true/\" seamless>\u003ca href=\"https://redhot.bandcamp.com/album/outer-spaceways-incorporated-kronos-quartet-friends-meet-sun-ra\">Outer Spaceways Incorporated : Kronos Quartet & Friends Meet Sun Ra by Georgia Anne Muldrow, Jacob Garchik\u003c/a>\u003c/iframe>\u003c/p>\n\u003cp>Laraaji, like most of the album’s participants, did not work directly in person with the quartet. Rather, he sent his own remix of the Sun Ra track “Daddy’s Gonna Tell You No Lie” to Red Hot, who then sent it to the Quartet for further overdubbing. \u003c/p>\n\u003cp>The release, which also features Bay Area-based experimentalists Victoria Shen and Zachary James Watkins, comes at a transitional time for the quartet. Violinist John Sherba and violist Hank Dutt, the two other original members besides Harrington, will retire at the end of this month. The quartet has more albums recorded featuring the two departing members, so \u003cem>Outer Spaceways Incorporated\u003c/em> is not their final album together.\u003c/p>\n\u003cp>This year’s installment of the quartet’s annual Kronos Festival will, however, represent Sherba and Dutt’s final performances with the group. In addition to several pieces from \u003cem>Outer Spaceways Incorporated\u003c/em>, the program features works from new-music royalty like Riley, Philip Glass and Yoko Ono, plus collaborations with artists like Chinese pipa player Wu Man and Inuit throat singer Tanya Tagaq.\u003c/p>\n\u003cfigure id=\"attachment_13959896\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1.jpg\" alt=\"\" width=\"1920\" height=\"1282\" class=\"size-full wp-image-13959896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet perform at the Musical instrument Museum in Phoenix, Ariz. in 2020. \u003ccite>(Musical Instrument Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Harrington and cellist Paul Wiancko have been hard at work bringing the two new members, violinist Gabriela Díaz and violist Ayane Kozasa, on board. Rehearsals will continue through the summer and into the fall before the quartet resumes performing.\u003c/p>\n\u003cp>While a gig with one of America’s most prestigious musical ensembles is no easy task, Harrington says the two new recruits are more than a match for the challenge.\u003c/p>\n\u003cp>“It’s not a matter of bringing them up to speed,” says Harrington. “It’s a matter of keeping up with \u003cem>them\u003c/em>.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra’ will be released on June 21. \u003ca href=\"https://redhot.bandcamp.com/album/outer-spaceways-incorporated-kronos-quartet-friends-meet-sun-ra\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This year’s Kronos Festival runs four nights, June 20–23, at SFJAZZ in San Francisco. \u003ca href=\"https://kronosquartet.org/kronos-festival-2024/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The outer space beings are my brothers. They sent me here.”\u003c/p>\n\u003cp>So spoke the composer and pianist Sun Ra, who famously claimed to have traveled from Saturn to bring a message of peace and love to Earth. Having first emerged in the Chicago jazz scene of the 1940s, Ra swiftly gained notoriety for his self-created sci-fi mythology, theatrical live shows and experimental musical instincts. Often in resplendent headgear suggestive of an Egyptian god, Ra was as gifted at writing indelible melodies (“Outer Spaceways Incorporated,” “Space is the Place”) as leading his “Arkestra” in freakouts like “Atlantis” and “The Magic City.”\u003c/p>\n\u003cp>Sooner or later, a composer with such an illustrious and eccentric career will cross paths with the \u003ca href=\"https://www.kqed.org/arts/tag/kronos-quartet\">Kronos Quartet\u003c/a>. Ra died in 1993, and never collaborated with the quartet during his lifetime. But his music fits perfectly with the avant-garde repertoire of the long-running San Francisco ensemble.\u003c/p>\n\u003cfigure id=\"attachment_13959893\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nacio%CC%81n-Imago-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Kronos Quartet performance in Guadalajara, Mexico. \u003ccite>(Nación Imago)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He feels like part of our posse of composers,” says founding Kronos member and first violinist David Harrington. “It feels very natural to be a part of his music and to create new limbs in the tree of our work. If he were around today, he would be in a Kronos rehearsal without any question, or we would be in a Sun Ra rehearsal without question.”\u003c/p>\n\u003cp>Ra’s compositions and Kronos’s strings form the core of \u003cem>Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra\u003c/em>, a collaboration with a host of guests from throughout the spectra of jazz, new music, and even EDM. The album includes interpretations of Ra’s compositions, pieces inspired by Ra written by other composers, and new works that use samples of Ra’s original recordings provided by Ra’s archivist, the outré-music scholar Irwin Chusid. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The project was organized by John Carlin, founder of Red Hot, a New York-based nonprofit founded in 1990 known for organizing high-profile tribute albums to raise awareness of issues such as AIDS and climate change. This is Carlin’s fourth album honoring Ra, and the only one entirely in collaboration with Kronos, who first worked with Red Hot on the 2009 compilation \u003cem>Dark Was the Night\u003c/em>.\u003c/p>\n\u003cp>“David [Harrington] and I had a very particular agenda, which was to make sure that Sun Ra was thought of as a significant 20th century American composer,” says Carlin.\u003c/p>\n\u003cp>Carlin believes Ra’s emphasis on “the collective” rather than individual ego is one of the most important qualities in his work. As such, Carlin and the Quartet tapped a vast swath of collaborators from across the left-field music world to appear on the album.\u003c/p>\n\u003cfigure id=\"attachment_13959897\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways.jpg\" alt=\"A composite image of a man, seen from behind, walking into the galaxy of stars and nebulae\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13959897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-768x768.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for ‘Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra.’ \u003ccite>(Red Hot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marshall Allen, the saxophonist who at the age of 100 continues to lead Ra’s Arkestra with vigor and enthusiasm, appears. So do art-music legends Laurie Anderson and Terry Riley; electronic producers Jlin and RP Boo from the Chicago area’s highly experimental footwork scene; and Laraaji, who released some of the earliest ambient recordings in the 1970s and early 1980s both solo and in collaboration with Brian Eno.\u003c/p>\n\u003cp>Laraaji, who shared a bill with the Arkestra at Children’s Fairyland in Oakland last year, had the chance to see Sun Ra perform twice in the early 1980s. \u003c/p>\n\u003cp>“The dancers and the musicians all wore very bright, resplendent, cosmic-centric outfits,” the New York-based composer recalls. “And the music was nothing I could hum. It relaxed me from the rather straight, rigid Western compositional space that I had been educated in.”\u003c/p>\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1852828604/size=small/bgcol=ffffff/linkcol=0687f5/track=1836229666/transparent=true/\" seamless>\u003ca href=\"https://redhot.bandcamp.com/album/outer-spaceways-incorporated-kronos-quartet-friends-meet-sun-ra\">Outer Spaceways Incorporated : Kronos Quartet & Friends Meet Sun Ra by Georgia Anne Muldrow, Jacob Garchik\u003c/a>\u003c/iframe>\u003c/p>\n\u003cp>Laraaji, like most of the album’s participants, did not work directly in person with the quartet. Rather, he sent his own remix of the Sun Ra track “Daddy’s Gonna Tell You No Lie” to Red Hot, who then sent it to the Quartet for further overdubbing. \u003c/p>\n\u003cp>The release, which also features Bay Area-based experimentalists Victoria Shen and Zachary James Watkins, comes at a transitional time for the quartet. Violinist John Sherba and violist Hank Dutt, the two other original members besides Harrington, will retire at the end of this month. The quartet has more albums recorded featuring the two departing members, so \u003cem>Outer Spaceways Incorporated\u003c/em> is not their final album together.\u003c/p>\n\u003cp>This year’s installment of the quartet’s annual Kronos Festival will, however, represent Sherba and Dutt’s final performances with the group. In addition to several pieces from \u003cem>Outer Spaceways Incorporated\u003c/em>, the program features works from new-music royalty like Riley, Philip Glass and Yoko Ono, plus collaborations with artists like Chinese pipa player Wu Man and Inuit throat singer Tanya Tagaq.\u003c/p>\n\u003cfigure id=\"attachment_13959896\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1.jpg\" alt=\"\" width=\"1920\" height=\"1282\" class=\"size-full wp-image-13959896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet perform at the Musical instrument Museum in Phoenix, Ariz. in 2020. \u003ccite>(Musical Instrument Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Harrington and cellist Paul Wiancko have been hard at work bringing the two new members, violinist Gabriela Díaz and violist Ayane Kozasa, on board. Rehearsals will continue through the summer and into the fall before the quartet resumes performing.\u003c/p>\n\u003cp>While a gig with one of America’s most prestigious musical ensembles is no easy task, Harrington says the two new recruits are more than a match for the challenge.\u003c/p>\n\u003cp>“It’s not a matter of bringing them up to speed,” says Harrington. “It’s a matter of keeping up with \u003cem>them\u003c/em>.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra’ will be released on June 21. \u003ca href=\"https://redhot.bandcamp.com/album/outer-spaceways-incorporated-kronos-quartet-friends-meet-sun-ra\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This year’s Kronos Festival runs four nights, June 20–23, at SFJAZZ in San Francisco. \u003ca href=\"https://kronosquartet.org/kronos-festival-2024/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13924298\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/GettyImages-486166770.jpg\" alt=\"\" width=\"1024\" height=\"660\" class=\"size-full wp-image-13924298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-486166770-768x495.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Sun Ra and his Arkestra perform with a steel sculpture on September 23, 1978, at Hill Auditorium in Ann Arbor, Michigan. \u003ccite>(Leni Sinclair/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Sun Ra Arkestra comes to San Francisco this week, and if you’re like most people, \u003ca href=\"https://en.wikipedia.org/wiki/Sun_Ra_discography\">you probably find his discography overwhelming\u003c/a>. Even diehard fans of Sun Ra, the pianist and bandleader who departed this Earthly plane 30 years ago, regularly discover new material spread across hundreds of releases.\u003c/p>\n\u003cp>The vast world of Sun Ra’s spaceways is unlike anything in the history of recorded American music. Spanning over four decades, it keeps one foot in the big-band stylings of major figures like Fletcher Henderson and Duke Ellington, and one in the infinite universe of free jazz and electronic synthesizers.\u003c/p>\n\u003cp>[aside postID='arts_13931138']The band’s shows in San Francisco, in fact, are split along these lines: two nights of the “exploratory side of Sun Ra,” and two nights of a more traditional big-band sound. And while 99-year-old bandleader Marshall Allen won’t be on the stand (he recently stopped touring outside the Philadelphia area), the spirit of refined exploration should be wholly present.\u003c/p>\n\u003cp>For a newcomer, where to start? Below are five landmark Sun Ra compositions to start you on your journey.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OK9CHK4Qmsw\u003c/p>\n\u003ch2>‘Sunology’\u003c/h2>\n\u003cp>An early tune that wouldn’t be out of place at the Savoy Ballroom in the late 1940s, Sun Ra referred to this as “a different kind of blues.” Note the Eastern influence and the wordplay of the title (“Sun-knowledge-y”), common markers in Sun Ra’s work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-cta8Jr2flk\u003c/p>\n\u003ch2>‘Fate in a Pleasant Mood’\u003c/h2>\n\u003cp>Another one of Sun Ra’s more big-band numbers, with traditional horn voicings that bend just a \u003cem>little\u003c/em> oblong. Imagine that it’s 1:49 a.m., the supper club’s about to close, and the couples on the dance floor are just as sleepy as the band. (A \u003ca href=\"https://www.youtube.com/watch?v=ZVn3wNFmXwQ\">1985 version\u003c/a> is more upbeat — and out there.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wUr2PoGa5Yc\u003c/p>\n\u003ch2>‘Interplanetary Music’\u003c/h2>\n\u003cp>Recorded in 1960, this shows the shape of Sun Ra’s music to come. Unusual instruments, rhythm and atmosphere over melody, and a repeating chant. In later live performances, this pivotal track would get a full workout.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tfdORV1-qYI\u003c/p>\n\u003ch2>‘Strange Strings’\u003c/h2>\n\u003cp>Issued in 1967, \u003cem>Strange Strings\u003c/em> is the result of Sun Ra giving his band instruments they did not know how to play, rolling tape, and seeing what would happen. Echo effects and a giant pane of sheet metal round out the wild, improvised piece. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CmY72PYQXek\u003c/p>\n\u003ch2>‘Space Is the Place’\u003c/h2>\n\u003cp>Sun Ra’s signature song, used in the 1974 film of the same name (\u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#sun-ra-films-space-is-the-place-in-oakland\">filmed in Oakland\u003c/a>), also contains his defining ethos: “There is no limit to the things that you can do.” At Sun Ra’s funeral, mourners sang this song on the way out of the church, the melodic lines overlapping with one another to create a vision of infinity. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Sun Ra Arkestra performs July 20–23 at SFJAZZ in San Francisco. \u003ca href=\"https://www.sfjazz.org/calendar/?month=7.2023&series=56108\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-cta8Jr2flk'\n title='//www.youtube.com/embed/-cta8Jr2flk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Fate in a Pleasant Mood’\u003c/h2>\n\u003cp>Another one of Sun Ra’s more big-band numbers, with traditional horn voicings that bend just a \u003cem>little\u003c/em> oblong. Imagine that it’s 1:49 a.m., the supper club’s about to close, and the couples on the dance floor are just as sleepy as the band. (A \u003ca href=\"https://www.youtube.com/watch?v=ZVn3wNFmXwQ\">1985 version\u003c/a> is more upbeat — and out there.)\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/wUr2PoGa5Yc'\n title='//www.youtube.com/embed/wUr2PoGa5Yc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Interplanetary Music’\u003c/h2>\n\u003cp>Recorded in 1960, this shows the shape of Sun Ra’s music to come. Unusual instruments, rhythm and atmosphere over melody, and a repeating chant. In later live performances, this pivotal track would get a full workout.\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/tfdORV1-qYI'\n title='//www.youtube.com/embed/tfdORV1-qYI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Strange Strings’\u003c/h2>\n\u003cp>Issued in 1967, \u003cem>Strange Strings\u003c/em> is the result of Sun Ra giving his band instruments they did not know how to play, rolling tape, and seeing what would happen. Echo effects and a giant pane of sheet metal round out the wild, improvised piece. \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/CmY72PYQXek'\n title='//www.youtube.com/embed/CmY72PYQXek'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Space Is the Place’\u003c/h2>\n\u003cp>Sun Ra’s signature song, used in the 1974 film of the same name (\u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#sun-ra-films-space-is-the-place-in-oakland\">filmed in Oakland\u003c/a>), also contains his defining ethos: “There is no limit to the things that you can do.” At Sun Ra’s funeral, mourners sang this song on the way out of the church, the melodic lines overlapping with one another to create a vision of infinity. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Sun Ra Arkestra performs July 20–23 at SFJAZZ in San Francisco. \u003ca href=\"https://www.sfjazz.org/calendar/?month=7.2023&series=56108\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>They say that jazz is best as a cool, late-night experience, and classical concerts are often a nighttime affair. But don’t let that notion get in the way of enjoying the season where both genres hang a little loose, and let their formal suit buttons out. Here’s a solid list of picks for the club, concert hall and outdoor setting this summer.\u003c/p>\n\u003cfigure id=\"attachment_13929696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/AndyBrick.GameOn.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AndyBrick.GameOn.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AndyBrick.GameOn-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AndyBrick.GameOn-768x511.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Video game composer Andy Brock conducts ‘Game On!’ \u003ccite>(Courtesy Andy Brick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.symphonysanjose.org/season/\">Game On!\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 26 and 27\u003cbr>\nSan Jose Center for the Performing Arts\u003c/em>\u003c/p>\n\u003cp>Like trap music or TikTok, video game music is a generational divider: younger people who came of age playing \u003cem>Super Mario Bros.\u003c/em> recognize it as high art, and a certain older generation dismisses it as commercial decoration. While not all video game scores rise to the brilliant level of, say, \u003cem>Final Fantasy VII\u003c/em>, there’s enough craft in the canon at this point that symphonic concerts of video game music have become frequent — and popular. In \u003cem>Game On!\u003c/em>, game composer Andy Brick conducts the San Jose Symphony in an evening of music from titles like \u003cem>World of Warcraft, Diablo, Assassin’s Creed, League of Legends, Until Dawn\u003c/em> and more.\u003c/p>\n\u003cfigure id=\"attachment_13929695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/NavayeAzadiEnsemble-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble.jpg 1280w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Navaye Azadi Ensemble sings of the ‘women, life, freedom’ movement in Iran. \u003ccite>(SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfiaf.org/2023_navaye_azadi\">Navaye Azadi Ensemble\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 11\u003cbr>\nBrava Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>As inspiring as the \u003ca href=\"https://en.wikipedia.org/wiki/Woman,_Life,_Freedom\">Women, Life, Freedom\u003c/a> movement in Iran may be, it’s important to remember that the opposition of the country’s morality police is strong, deadly, and not waning. To keep the movement in the public eye, and to express the issues of women’s rights and democracy through song, the Navaya Azadi Ensemble sings contemporary texts in Farsi, accompanied by violin and piano. The concert is part of the \u003ca href=\"https://www.sfiaf.org/\">San Francisco International Arts Festival\u003c/a>, itself a cornucopia of socially conscious performances over an 11-day span.\u003c/p>\n\u003cfigure id=\"attachment_13929694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929694\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera.jpg 1600w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guadalupe Paz and Alfredo Daza in the San Diego Opera world premiere of ‘El ultimo sueño de Frida y Diego.’ \u003ccite>(Karli Cadel / San Diego Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/el-ultimo-sueno-de-frida-y-diego/\">El último sueño de Frida y Diego\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 13–30\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In this summer’s most anticipated new work, the story of Frida Kahlo and Diego Rivera’s rollercoaster romance gets a creative treatment by Boonville-based composer Gabriela Lena Frank and librettist Nilo Cruz. Set three years after Kahlo’s death, and weeks before Rivera’s own, the opera imagines Rivera (Alfredo Daza) pining to see his wife Frida (Daniela Mack) one last time. Since it happens to be Día de los Muertos, his wish becomes an absorbing journey for both of them. With a relatively short run time of just over two hours, consider \u003cem>Frida y Diego\u003c/em> a perfect option for introducing first-timers to the opera.\u003c/p>\n\u003cfigure id=\"attachment_10811128\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10811128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/TerryDavid.jpg\" alt=\"\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TerryDavid.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TerryDavid-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Terry Riley with the Kronos Quartet’s David Harrington at the SFJAZZ Center. \u003ccite>(Evan Neff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://kronosquartet.org/kronos-festival-2023/\">Kronos Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 22–24\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>Put the classical canon in an air fryer, send it 50 years into the future, and play it at 1.5x speed, and you’d get something close to the atmospheres created by the Kronos Quartet. The Bay Area institution’s annual festival is always thrilling, with guest performers and daring works. This year’s lineup includes pieces by West African singer Angélique Kidjo, Pulitzer winner Henry Threadgill, Bay Area composer Gullermo Galindo, jazz-thrash polyglot Trey Spruance, and even some reliable standbys like Terry Riley (above) and Philip Glass. With Aizuri Quartet, Attacca Quartet and Friction Quartet joining Kronos, check your preconceptions at the door.\u003c/p>\n\u003cfigure id=\"attachment_13929699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/IsaiahCollier.jpg\" alt=\"\" width=\"800\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IsaiahCollier.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IsaiahCollier-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IsaiahCollier-768x498.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaiah Collier. \u003ccite>(Tiffany Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.turntabletickets.com/\">Isaiah Collier & the Chosen Few\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 22–25\u003cbr>\nThe Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>If you’ve ever wanted to travel back in time to see John Coltrane recording his landmark album \u003cem>A Love Supreme\u003c/em>, Isaiah Collier & the Chosen Few have a deal for you. For the saxophonist’s 2021 album \u003cem>Cosmic Transitions\u003c/em>, he brought his group to the same recording studio where \u003cem>A Love Supreme\u003c/em> was made, and on John Coltrane’s birthday, no less. This quaint anecdote could have ended there — if the results weren’t so vital and stunning. Live, Collier is always on his game, and in the classic confines of this Tenderloin basement club, his sets are bound to be a transporting experience.\u003c/p>\n\u003cfigure id=\"attachment_13929700\" class=\"wp-caption aligncenter\" style=\"max-width: 660px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929700\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/WillieColon.jpg\" alt=\"\" width=\"660\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WillieColon.jpg 660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WillieColon-160x116.jpg 160w\" sizes=\"auto, (max-width: 660px) 100vw, 660px\">\u003cfigcaption class=\"wp-caption-text\">Willie Colón. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.livenation.com/event/G5vYZ9Pb4EECE/cafe-con-leche-starring-willie-colon\">Willie Colón\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 15\u003cbr>\nShoreline Amphitheater, Mountain View\u003c/em>\u003c/p>\n\u003cp>Willie Colón’s name is near-synonymous with the New York Salsa renaissance of the early 1970s. In a series of underworld-themed albums on the Fania label, the trombonist, vocalist and bandleader worked with Hector Lavoe, Celia Cruz, Ruben Blades and many others. The Latin music legend headlines this package tour with Los Hermanos Rosario, Hector Acosta, Los Hermanos Flores and Fulanito. Pro tip: For a free concert of New York Latin music without the snarled traffic into and out of the parking lot, the Latin soul legend \u003ca href=\"https://ybgfestival.org/event/joe-bataan_la-dona/\">Joe Bataan plays with Mission District favorite La Doña at Yerba Buena Gardens\u003c/a> on the same day, July 15.\u003c/p>\n\u003cfigure id=\"attachment_13929728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929728\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Marshall.Allen_-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Allen of the Sun Ra Arkestra performs on stage in the United Kingdom in 2012. \u003ccite>(Gary Wolstenholme/Redferns via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/summer23/sun-ra-arkestra-adventure-into-outer-space/\">Sun Ra Arkestra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 20–23\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>The music and mystique of Sun Ra just keep growing, and while Ra himself left this Earth to travel the outer spaceways in 1993, his mission is, thankfully, kept alive by 99-year-old saxophonist and bandleader Marshall Allen. (Note: Allen, 99, is no longer performing on the road with the band, and will not appear at these shows.) Cunningly, the group’s residency is split in half: two nights of Ra’s more borderless, avant-garde music, and two nights of his singular take on big-band swing. Attendees are advised to be ready for a journey — no one who experiences the music of Sun Ra in a live setting leaves unchanged.\u003c/p>\n\u003cfigure id=\"attachment_13929729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Peter.Drake_-800x394.jpg\" alt=\"\" width=\"800\" height=\"394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_-800x394.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_-768x378.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_.jpg 1015w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tchaikovsky and… Drake?\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2022-23/Hackman-Tchaikovsky-X-Drake\">Tchaikovsky x Drake\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 29\u003cbr>\nDavis Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dude, I don’t know either. The classical establishment is always looking for ways to make classical music more enticing to younger people, and this seems to be its latest attempt: a touring production that blends the symphonies of Tchaikovsky with the half-melodic melodies and incel-adjacent bars of the famous Canadian rapper Drake. For a more local spin on this experiment, San Francisco rap icon \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2867\">Andre Nickatina hosts a “reimagining” of his music with a classical ensemble\u003c/a> just one block away from Davies on June 24. Attention, NBA Youngboy and Yo-Yo Ma: your move!\u003c/p>\n\u003cfigure id=\"attachment_13929730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Ahya.Simone-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone.jpg 1298w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ahya Simone. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://operaparallele.org/expansive/\">Expansive: A Showcase of Transgender and Non-Binary Classical Artists\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Aug. 3 and 4\u003cbr>\nStrand Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>San Francisco’s first-of-its-kind Transgender District was founded in 2017, and in 2022, it partnered with Opera Parallèle to celebrate trans and nonbinary classical musicians. The series returns in a year that’s seen increased attacks on trans rights, both in distant state legislatures and on San Francisco’s own streets. Performing this year are singer Katherine Goforth, harpist Ahya Simone (above) and mezzo-soprano Nikola Printz. With host Afrika America, expect poignancy, humor and artistry of high order.\u003c/p>\n\u003cfigure id=\"attachment_13929731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Patrice-Rushen-800x494.jpg\" alt=\"\" width=\"800\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen.jpg 1332w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrice Rushen. \u003ccite>(San Jose Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://summerfest.sanjosejazz.org/\">San Jose Jazz Summer Fest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 11-13\u003cbr>\nVarious venues, downtown San Jose\u003c/em>\u003c/p>\n\u003cp>It’s remarkably common for small festivals to lose their steam and peter out after a couple years. Rare is the festival, like San Jose Summerfest, that just gets bigger and better each year. This year’s fun comes in the form of headliners like bassist extraordinaire Marcus Miller, experimentalists The Bad Plus, Zambian rock band W.I.T.C.H., soulful vocalist Gregory Porter and jazz phenomenon Veronica Swift. Spread out over central San Jose, the festival offers the sublime opportunity to listen to Patrice Rushen (above) on a Sunday afternoon, laying on a blanket in Plaza de César Chávez. Does summertime get much better?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction:\u003c/strong> \u003c/em>\u003cem>This story previously stated that San Jose Jazz Summer Fest takes place Aug. 3 and 4. The correct dates are Aug. 11-13. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story has also been updated to reflect that Marshall Allen is not performing with the Sun Ra Arkestra in Sam Francisco.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A Frida Kahlo opera, a salsa legend, an afrofuturist big band and, ahem, a mash-up between Tchaikovsky and Drake keep the jazz and classical scene lively this summer.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They say that jazz is best as a cool, late-night experience, and classical concerts are often a nighttime affair. But don’t let that notion get in the way of enjoying the season where both genres hang a little loose, and let their formal suit buttons out. Here’s a solid list of picks for the club, concert hall and outdoor setting this summer.\u003c/p>\n\u003cfigure id=\"attachment_13929696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/AndyBrick.GameOn.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AndyBrick.GameOn.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AndyBrick.GameOn-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AndyBrick.GameOn-768x511.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Video game composer Andy Brock conducts ‘Game On!’ \u003ccite>(Courtesy Andy Brick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.symphonysanjose.org/season/\">Game On!\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 26 and 27\u003cbr>\nSan Jose Center for the Performing Arts\u003c/em>\u003c/p>\n\u003cp>Like trap music or TikTok, video game music is a generational divider: younger people who came of age playing \u003cem>Super Mario Bros.\u003c/em> recognize it as high art, and a certain older generation dismisses it as commercial decoration. While not all video game scores rise to the brilliant level of, say, \u003cem>Final Fantasy VII\u003c/em>, there’s enough craft in the canon at this point that symphonic concerts of video game music have become frequent — and popular. In \u003cem>Game On!\u003c/em>, game composer Andy Brick conducts the San Jose Symphony in an evening of music from titles like \u003cem>World of Warcraft, Diablo, Assassin’s Creed, League of Legends, Until Dawn\u003c/em> and more.\u003c/p>\n\u003cfigure id=\"attachment_13929695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/NavayeAzadiEnsemble-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble.jpg 1280w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Navaye Azadi Ensemble sings of the ‘women, life, freedom’ movement in Iran. \u003ccite>(SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfiaf.org/2023_navaye_azadi\">Navaye Azadi Ensemble\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 11\u003cbr>\nBrava Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>As inspiring as the \u003ca href=\"https://en.wikipedia.org/wiki/Woman,_Life,_Freedom\">Women, Life, Freedom\u003c/a> movement in Iran may be, it’s important to remember that the opposition of the country’s morality police is strong, deadly, and not waning. To keep the movement in the public eye, and to express the issues of women’s rights and democracy through song, the Navaya Azadi Ensemble sings contemporary texts in Farsi, accompanied by violin and piano. The concert is part of the \u003ca href=\"https://www.sfiaf.org/\">San Francisco International Arts Festival\u003c/a>, itself a cornucopia of socially conscious performances over an 11-day span.\u003c/p>\n\u003cfigure id=\"attachment_13929694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929694\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera.jpg 1600w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guadalupe Paz and Alfredo Daza in the San Diego Opera world premiere of ‘El ultimo sueño de Frida y Diego.’ \u003ccite>(Karli Cadel / San Diego Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/el-ultimo-sueno-de-frida-y-diego/\">El último sueño de Frida y Diego\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 13–30\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In this summer’s most anticipated new work, the story of Frida Kahlo and Diego Rivera’s rollercoaster romance gets a creative treatment by Boonville-based composer Gabriela Lena Frank and librettist Nilo Cruz. Set three years after Kahlo’s death, and weeks before Rivera’s own, the opera imagines Rivera (Alfredo Daza) pining to see his wife Frida (Daniela Mack) one last time. Since it happens to be Día de los Muertos, his wish becomes an absorbing journey for both of them. With a relatively short run time of just over two hours, consider \u003cem>Frida y Diego\u003c/em> a perfect option for introducing first-timers to the opera.\u003c/p>\n\u003cfigure id=\"attachment_10811128\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10811128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/TerryDavid.jpg\" alt=\"\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TerryDavid.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TerryDavid-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Terry Riley with the Kronos Quartet’s David Harrington at the SFJAZZ Center. \u003ccite>(Evan Neff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://kronosquartet.org/kronos-festival-2023/\">Kronos Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 22–24\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>Put the classical canon in an air fryer, send it 50 years into the future, and play it at 1.5x speed, and you’d get something close to the atmospheres created by the Kronos Quartet. The Bay Area institution’s annual festival is always thrilling, with guest performers and daring works. This year’s lineup includes pieces by West African singer Angélique Kidjo, Pulitzer winner Henry Threadgill, Bay Area composer Gullermo Galindo, jazz-thrash polyglot Trey Spruance, and even some reliable standbys like Terry Riley (above) and Philip Glass. With Aizuri Quartet, Attacca Quartet and Friction Quartet joining Kronos, check your preconceptions at the door.\u003c/p>\n\u003cfigure id=\"attachment_13929699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/IsaiahCollier.jpg\" alt=\"\" width=\"800\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IsaiahCollier.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IsaiahCollier-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IsaiahCollier-768x498.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaiah Collier. \u003ccite>(Tiffany Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.turntabletickets.com/\">Isaiah Collier & the Chosen Few\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 22–25\u003cbr>\nThe Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>If you’ve ever wanted to travel back in time to see John Coltrane recording his landmark album \u003cem>A Love Supreme\u003c/em>, Isaiah Collier & the Chosen Few have a deal for you. For the saxophonist’s 2021 album \u003cem>Cosmic Transitions\u003c/em>, he brought his group to the same recording studio where \u003cem>A Love Supreme\u003c/em> was made, and on John Coltrane’s birthday, no less. This quaint anecdote could have ended there — if the results weren’t so vital and stunning. Live, Collier is always on his game, and in the classic confines of this Tenderloin basement club, his sets are bound to be a transporting experience.\u003c/p>\n\u003cfigure id=\"attachment_13929700\" class=\"wp-caption aligncenter\" style=\"max-width: 660px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929700\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/WillieColon.jpg\" alt=\"\" width=\"660\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WillieColon.jpg 660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WillieColon-160x116.jpg 160w\" sizes=\"auto, (max-width: 660px) 100vw, 660px\">\u003cfigcaption class=\"wp-caption-text\">Willie Colón. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.livenation.com/event/G5vYZ9Pb4EECE/cafe-con-leche-starring-willie-colon\">Willie Colón\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 15\u003cbr>\nShoreline Amphitheater, Mountain View\u003c/em>\u003c/p>\n\u003cp>Willie Colón’s name is near-synonymous with the New York Salsa renaissance of the early 1970s. In a series of underworld-themed albums on the Fania label, the trombonist, vocalist and bandleader worked with Hector Lavoe, Celia Cruz, Ruben Blades and many others. The Latin music legend headlines this package tour with Los Hermanos Rosario, Hector Acosta, Los Hermanos Flores and Fulanito. Pro tip: For a free concert of New York Latin music without the snarled traffic into and out of the parking lot, the Latin soul legend \u003ca href=\"https://ybgfestival.org/event/joe-bataan_la-dona/\">Joe Bataan plays with Mission District favorite La Doña at Yerba Buena Gardens\u003c/a> on the same day, July 15.\u003c/p>\n\u003cfigure id=\"attachment_13929728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929728\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Marshall.Allen_-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Allen of the Sun Ra Arkestra performs on stage in the United Kingdom in 2012. \u003ccite>(Gary Wolstenholme/Redferns via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/summer23/sun-ra-arkestra-adventure-into-outer-space/\">Sun Ra Arkestra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 20–23\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>The music and mystique of Sun Ra just keep growing, and while Ra himself left this Earth to travel the outer spaceways in 1993, his mission is, thankfully, kept alive by 99-year-old saxophonist and bandleader Marshall Allen. (Note: Allen, 99, is no longer performing on the road with the band, and will not appear at these shows.) Cunningly, the group’s residency is split in half: two nights of Ra’s more borderless, avant-garde music, and two nights of his singular take on big-band swing. Attendees are advised to be ready for a journey — no one who experiences the music of Sun Ra in a live setting leaves unchanged.\u003c/p>\n\u003cfigure id=\"attachment_13929729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Peter.Drake_-800x394.jpg\" alt=\"\" width=\"800\" height=\"394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_-800x394.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_-768x378.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_.jpg 1015w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tchaikovsky and… Drake?\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2022-23/Hackman-Tchaikovsky-X-Drake\">Tchaikovsky x Drake\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 29\u003cbr>\nDavis Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dude, I don’t know either. The classical establishment is always looking for ways to make classical music more enticing to younger people, and this seems to be its latest attempt: a touring production that blends the symphonies of Tchaikovsky with the half-melodic melodies and incel-adjacent bars of the famous Canadian rapper Drake. For a more local spin on this experiment, San Francisco rap icon \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2867\">Andre Nickatina hosts a “reimagining” of his music with a classical ensemble\u003c/a> just one block away from Davies on June 24. Attention, NBA Youngboy and Yo-Yo Ma: your move!\u003c/p>\n\u003cfigure id=\"attachment_13929730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Ahya.Simone-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone.jpg 1298w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ahya Simone. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://operaparallele.org/expansive/\">Expansive: A Showcase of Transgender and Non-Binary Classical Artists\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Aug. 3 and 4\u003cbr>\nStrand Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>San Francisco’s first-of-its-kind Transgender District was founded in 2017, and in 2022, it partnered with Opera Parallèle to celebrate trans and nonbinary classical musicians. The series returns in a year that’s seen increased attacks on trans rights, both in distant state legislatures and on San Francisco’s own streets. Performing this year are singer Katherine Goforth, harpist Ahya Simone (above) and mezzo-soprano Nikola Printz. With host Afrika America, expect poignancy, humor and artistry of high order.\u003c/p>\n\u003cfigure id=\"attachment_13929731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Patrice-Rushen-800x494.jpg\" alt=\"\" width=\"800\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen.jpg 1332w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrice Rushen. \u003ccite>(San Jose Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://summerfest.sanjosejazz.org/\">San Jose Jazz Summer Fest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 11-13\u003cbr>\nVarious venues, downtown San Jose\u003c/em>\u003c/p>\n\u003cp>It’s remarkably common for small festivals to lose their steam and peter out after a couple years. Rare is the festival, like San Jose Summerfest, that just gets bigger and better each year. This year’s fun comes in the form of headliners like bassist extraordinaire Marcus Miller, experimentalists The Bad Plus, Zambian rock band W.I.T.C.H., soulful vocalist Gregory Porter and jazz phenomenon Veronica Swift. Spread out over central San Jose, the festival offers the sublime opportunity to listen to Patrice Rushen (above) on a Sunday afternoon, laying on a blanket in Plaza de César Chávez. Does summertime get much better?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction:\u003c/strong> \u003c/em>\u003cem>This story previously stated that San Jose Jazz Summer Fest takes place Aug. 3 and 4. The correct dates are Aug. 11-13. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story has also been updated to reflect that Marshall Allen is not performing with the Sun Ra Arkestra in Sam Francisco.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"info": "Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. Download Chris’s Song of the Week plus other highlights from the broadcast. Produced by American Public Media.",
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"rss": "https://feeds.publicradio.org/public_feeds/a-prairie-home-companion-highlights/rss/rss"
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 13
},
"link": "/podcasts/mindshift",
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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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 12
},
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.",
"airtime": "SAT 6pm-7pm, SUN 1am-2am",
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},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw",
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"order": 15
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"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
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