On '3rtys,' Veteran San Jose Battle Rapper Dirtbag Dan Reveals His Introspective Side
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Dragon Theatre Provides a Fiery Theatrical Presence on the Peninsula
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>s there still room to innovate within a century-old genre? It all depends on who you ask.\u003c/p>\n\u003cp>In one sense, jazz is far from the mainstream dance music it once was in the 1930s and ’40s at the height of its big band era. Popular tastes have moved on to hip-hop and electronic music, and to some, jazz carries connotations of high-brow, out-of-touch intellectualism.\u003c/p>\n\u003cp>But 101 years since the first jazz recording, the genre is very much alive. In fact, it’s experiencing a transformation before our eyes. Pay no mind to the “jazz is dead” crowd, or get caught up in the fanfare when \u003ca href=\"https://www.newyorker.com/culture/cultural-comment/the-intoxicating-promise-of-john-coltranes-lost-album\" target=\"_blank\" rel=\"noopener\">unheard material\u003c/a> from Miles Davis or John Coltrane finds the light of day. Those vintage releases preserve notions of what the music should still sound like, when in 2018, jazz’s youthful innovators mold the art form in their image, integrating contemporary influences while continuing the music’s storied history of \u003ca href=\"https://www.thoughtco.com/jazz-and-the-civil-rights-movement-2039542\" target=\"_blank\" rel=\"noopener\">activism\u003c/a> and experimentation.\u003c/p>\n\u003cp>As leading jazz critic Nate Chinen writes in his new book, \u003cem>Playing Changes: Jazz for the New Century:\u003c/em> “Instead of a push for definition and one prevailing style, we have boundless permutations without fixed parameters. That multiplicity lies precisely at the heart of the new aesthetic—and is the engine of its greatest promise.”\u003c/p>\n\u003cp>https://youtu.be/LdyabrdFMC8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>os Angeles saxophonist Kamasi Washington is arguably the most visible artist in jazz’s recent flirtation with the mainstream. A horn and string arranger on Kendrick Lamar’s landmark 2015 album \u003cem>To Pimp a Butterfly,\u003c/em> Washington had a hand in opening new ears to jazz the same year he released his ambitious triple-disc solo debut, \u003cem>The Epic\u003c/em>.\u003c/p>\n\u003cp>In 2018, Washington demonstrated his creativity and ambitiousness with his \u003ca href=\"https://pitchfork.com/reviews/albums/kamasi-washington-heaven-and-earth/\" target=\"_blank\" rel=\"noopener\">critically acclaimed\u003c/a> \u003cem>Heaven and Earth\u003c/em>. It’s surprising the album manages to feel accessible: tracks often stretch past eight minutes, with a dense tapestry that includes a full band, an orchestra and a choir. Funk and gospel elements serve as guideposts for listeners who may not be accustomed to sitting through two-plus hours of jazz. Lead single “Street Fighter Mas,” for instance, starts with a funky drum break, a fat bass line with a West Coast rap thump, jittery strings and spare piano chords that lead into a massive, soaring chorus. Washington’s sax speaks in bursts, anxious yet precise, keeping things interesting throughout.\u003c/p>\n\u003cp>Washington’s label associations help broaden his cross-over appeal, which enabled him to attract an enthusiastic audience this year during his sunset slot at pop-forward Coachella this year. \u003cem>The Epic\u003c/em> came out on Brainfeeder, a Los Angeles label run by psychedelic beatmaker Stephen Ellison, better known as Flying Lotus. (The great nephew of the Alice Coltrane, Ellison also has deep jazz roots.) While known for experimental electronic music with a hip-hop backbone, the label is also a platform for Los Angeles’ new jazz scene, with Washington, virtuoso bassist Thundercat and the late piano prodigy Austin Peralta as three of its stars.\u003c/p>\n\u003cp>Washington’s \u003cem>Heaven and Earth \u003c/em>came out on Young Turks, where he sits on a roster alongside celebrated indie rock duo The xx and experimental pop singer FKA Twigs. Thanks to these unconventional associations, Washington’s music has stayed on the radar of outlets that don’t usually \u003ca href=\"https://www.thefader.com/2018/06/25/kamasi-washington-heaven-and-earth-interview\">touch\u003c/a> \u003ca href=\"https://pitchfork.com/reviews/albums/kamasi-washington-heaven-and-earth/\" target=\"_blank\" rel=\"noopener\">jazz\u003c/a>, like The Fader.\u003c/p>\n\u003cp>“It’s rare for a jazz saxophonist to make headlines from Pitchfork to Billboard, but the range of his success sunk in crazy when FlyLo and Washington shared the bill of North Sea Jazz Festival in 2016,” Kat Bein said about Washington in a recent \u003cem>\u003ca href=\"https://www.billboard.com/articles/news/dance/8486087/flying-lotus-brainfeeder-x-interview\" target=\"_blank\" rel=\"noopener\">Billboard\u003c/a>\u003c/em> interview with Flying Lotus.\u003c/p>\n\u003cp>https://youtu.be/hxzA6CrDIWg\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ashington helped usher jazz into the Black Lives Matter era with his work on \u003cem>To Pimp a Butterfly\u003c/em>, and he’s not the only contemporary artist to invoke the genre’s history of civil rights activism in his work. Amid the Bay Area’s politically charged creative scene, Oakland composer Ambrose Akinmusire’s evocative, hip–hop-inflected 2018 album \u003cem>Origami Harvest\u003c/em> made a powerful statement about police brutality and racial injustice.\u003c/p>\n\u003cp>\u003cem>Origami Harvest \u003c/em>brings to mind the work of bassist and 2018-2019 SFJAZZ Resident Artistic Director Marcus Shelby, whose compositions meditate on key figures and moments in African-American history, including Dr. Martin Luther King, Jr., Harriet Tubman and the Port Chicago disaster of 1944. Akinmusire’s \u003cem>Origami Harvest\u003c/em> also shares kinship with fellow Berkeley High grad Samora Pinderhuges’ \u003ca href=\"https://www.youtube.com/watch?v=XQ9Es-7kGaU\" target=\"_blank\" rel=\"noopener\">\u003cem>Transformations Suite\u003c/em>\u003c/a>, a 2016 multi-disciplinary project that examines “the radical history of resistance within communities of the African diaspora.”\u003c/p>\n\u003cp>The opening track on \u003cem>Origami Harvest, \u003c/em>“a blooming bloodfruit in a hoodie,” shifts gears like a classical suite, with 13 minutes comprised of a handful of mini-movements. One can feel heartbreak in the dissonance between the chamber music and Bay Area rapper Kool A.D.’s gun shot ad libs and “gang gang” refrains, his words deft yet impressionistic. Akinmusire’s message comes into clear focus on “Free, White and 21,” where he reads the names of African-American men and women killed by law enforcement.\u003c/p>\n\u003cp>“One thing I never normally say in interviews is that sometimes, I imagine my name being read out lout with that list of names. I imagine someone else reading it and unfortunately, it is an easily conceivable image,” the composer shared in a recent interview with \u003ca href=\"https://qwest.tv/magazine/music-genre/jazz-en/2018/ambrose-akinmusire-it-is-hard-to-dismiss-abstraction/\" target=\"_blank\" rel=\"noopener\">Qwest TV\u003c/a>. “The train I ride a few times a week goes right past the place where Oscar Grant was killed. So it plays a very active role in my life.”\u003c/p>\n\u003cp>https://youtu.be/swcSU71gixw\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>his year also saw the rise of Chicago drummer Makaya McCraven, whose latest album, \u003ca href=\"https://intlanthem.bandcamp.com/album/universal-beings\" target=\"_blank\" rel=\"noopener\">\u003cem>Universal Beings\u003c/em>\u003c/a>, finds him behind the kit with ensembles assembled in separate sessions in New York, Chicago, London and Los Angeles. The heartbeat of McCraven’s music feels different; it’s suffused with contemporary influences like hip-hop and house music, and crafted, like an electronic beat, with layers of refrains. Like Akinmusire and Washington, McCraven treats more mainstream genres as additional shades on his musical canvas.\u003c/p>\n\u003cp>It’s hard to say that this music swings. It grooves, or perhaps more fittingly, it knocks. In that sense, McCraven’s work can feel alien at times to what one might classically describe as jazz. There’s a meditative quality to \u003cem>Universal Beings\u003c/em>: with the drums as the centerpiece, there are slow-burning builds and melodic runs that often revisit a prescient phrase once its found, repeating the moment like a beat on loop.\u003c/p>\n\u003cp>\u003cem>Universal Beings\u003c/em> and other releases on the label International Anthem draw connections to Chicago’s longstanding tradition of pushing the boundaries of jazz, dating back to the work of the \u003ca href=\"https://en.wikipedia.org/wiki/Association_for_the_Advancement_of_Creative_Musicians\" target=\"_blank\" rel=\"noopener\">Association for the Advancement of Creative Musicians\u003c/a> (AACM) in the 1960s and its outgrowth, \u003ca href=\"https://youtu.be/OZV6FzLeWeo\" target=\"_blank\" rel=\"noopener\">Art Ensemble of Chicago\u003c/a>.\u003c/p>\n\u003cp>International Anthem’s 2017 releases, like \u003cem>Fly or Die \u003c/em>by trumpeter Jaimie Branch and the self-titled debut of Irreversible Entanglements, deliver a raw musical intensity that stands apart from the spotless, sanitized recordings often heard in contemporary jazz. Rather than using the form to showcase virtuosity, McCraven, Branch and Irreversible Entanglements shift the focus back to thoughtful group interplay.\u003c/p>\n\u003cp>https://youtu.be/VifRr_P30uU\u003c/p>\n\u003cp>Jazz has outlasted the likes of disco, rock’n’roll and new jack swing because it’s always been able to update its framework to accommodate the influences of its present-day exponents. In their own ways, Washington, Akinmusire and McCraven are all showing what jazz is capable of in 2018, revealing the staying power of one of America’s greatest cultural exports. Over 100 years from its inception, jazz is still a springboard for inventing new sounds and addressing the most pressing issues of our time.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Jazz is such a malleable form that whenever you get different spheres of influence meeting it or attaching themselves to it, then it becomes something else,” said British saxophonist \u003ca href=\"https://youtu.be/NwCCfWiYk2s\" target=\"_blank\" rel=\"noopener\">Shabaka Hutchings\u003c/a>, a leading light in London’s jazz resurgence, in the short documentary \u003cem>We Out Here\u003c/em>. “You can see a branch of the tree spiral into another direction. It doesn’t negate the course the original branches are going in. It just means there’s some other perspectives.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>os Angeles saxophonist Kamasi Washington is arguably the most visible artist in jazz’s recent flirtation with the mainstream. A horn and string arranger on Kendrick Lamar’s landmark 2015 album \u003cem>To Pimp a Butterfly,\u003c/em> Washington had a hand in opening new ears to jazz the same year he released his ambitious triple-disc solo debut, \u003cem>The Epic\u003c/em>.\u003c/p>\n\u003cp>In 2018, Washington demonstrated his creativity and ambitiousness with his \u003ca href=\"https://pitchfork.com/reviews/albums/kamasi-washington-heaven-and-earth/\" target=\"_blank\" rel=\"noopener\">critically acclaimed\u003c/a> \u003cem>Heaven and Earth\u003c/em>. It’s surprising the album manages to feel accessible: tracks often stretch past eight minutes, with a dense tapestry that includes a full band, an orchestra and a choir. Funk and gospel elements serve as guideposts for listeners who may not be accustomed to sitting through two-plus hours of jazz. Lead single “Street Fighter Mas,” for instance, starts with a funky drum break, a fat bass line with a West Coast rap thump, jittery strings and spare piano chords that lead into a massive, soaring chorus. Washington’s sax speaks in bursts, anxious yet precise, keeping things interesting throughout.\u003c/p>\n\u003cp>Washington’s label associations help broaden his cross-over appeal, which enabled him to attract an enthusiastic audience this year during his sunset slot at pop-forward Coachella this year. \u003cem>The Epic\u003c/em> came out on Brainfeeder, a Los Angeles label run by psychedelic beatmaker Stephen Ellison, better known as Flying Lotus. (The great nephew of the Alice Coltrane, Ellison also has deep jazz roots.) While known for experimental electronic music with a hip-hop backbone, the label is also a platform for Los Angeles’ new jazz scene, with Washington, virtuoso bassist Thundercat and the late piano prodigy Austin Peralta as three of its stars.\u003c/p>\n\u003cp>Washington’s \u003cem>Heaven and Earth \u003c/em>came out on Young Turks, where he sits on a roster alongside celebrated indie rock duo The xx and experimental pop singer FKA Twigs. Thanks to these unconventional associations, Washington’s music has stayed on the radar of outlets that don’t usually \u003ca href=\"https://www.thefader.com/2018/06/25/kamasi-washington-heaven-and-earth-interview\">touch\u003c/a> \u003ca href=\"https://pitchfork.com/reviews/albums/kamasi-washington-heaven-and-earth/\" target=\"_blank\" rel=\"noopener\">jazz\u003c/a>, like The Fader.\u003c/p>\n\u003cp>“It’s rare for a jazz saxophonist to make headlines from Pitchfork to Billboard, but the range of his success sunk in crazy when FlyLo and Washington shared the bill of North Sea Jazz Festival in 2016,” Kat Bein said about Washington in a recent \u003cem>\u003ca href=\"https://www.billboard.com/articles/news/dance/8486087/flying-lotus-brainfeeder-x-interview\" target=\"_blank\" rel=\"noopener\">Billboard\u003c/a>\u003c/em> interview with Flying Lotus.\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/hxzA6CrDIWg'\n title='//www.youtube.com/embed/hxzA6CrDIWg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ashington helped usher jazz into the Black Lives Matter era with his work on \u003cem>To Pimp a Butterfly\u003c/em>, and he’s not the only contemporary artist to invoke the genre’s history of civil rights activism in his work. Amid the Bay Area’s politically charged creative scene, Oakland composer Ambrose Akinmusire’s evocative, hip–hop-inflected 2018 album \u003cem>Origami Harvest\u003c/em> made a powerful statement about police brutality and racial injustice.\u003c/p>\n\u003cp>\u003cem>Origami Harvest \u003c/em>brings to mind the work of bassist and 2018-2019 SFJAZZ Resident Artistic Director Marcus Shelby, whose compositions meditate on key figures and moments in African-American history, including Dr. Martin Luther King, Jr., Harriet Tubman and the Port Chicago disaster of 1944. Akinmusire’s \u003cem>Origami Harvest\u003c/em> also shares kinship with fellow Berkeley High grad Samora Pinderhuges’ \u003ca href=\"https://www.youtube.com/watch?v=XQ9Es-7kGaU\" target=\"_blank\" rel=\"noopener\">\u003cem>Transformations Suite\u003c/em>\u003c/a>, a 2016 multi-disciplinary project that examines “the radical history of resistance within communities of the African diaspora.”\u003c/p>\n\u003cp>The opening track on \u003cem>Origami Harvest, \u003c/em>“a blooming bloodfruit in a hoodie,” shifts gears like a classical suite, with 13 minutes comprised of a handful of mini-movements. One can feel heartbreak in the dissonance between the chamber music and Bay Area rapper Kool A.D.’s gun shot ad libs and “gang gang” refrains, his words deft yet impressionistic. Akinmusire’s message comes into clear focus on “Free, White and 21,” where he reads the names of African-American men and women killed by law enforcement.\u003c/p>\n\u003cp>“One thing I never normally say in interviews is that sometimes, I imagine my name being read out lout with that list of names. I imagine someone else reading it and unfortunately, it is an easily conceivable image,” the composer shared in a recent interview with \u003ca href=\"https://qwest.tv/magazine/music-genre/jazz-en/2018/ambrose-akinmusire-it-is-hard-to-dismiss-abstraction/\" target=\"_blank\" rel=\"noopener\">Qwest TV\u003c/a>. “The train I ride a few times a week goes right past the place where Oscar Grant was killed. So it plays a very active role in my life.”\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/swcSU71gixw'\n title='//www.youtube.com/embed/swcSU71gixw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>his year also saw the rise of Chicago drummer Makaya McCraven, whose latest album, \u003ca href=\"https://intlanthem.bandcamp.com/album/universal-beings\" target=\"_blank\" rel=\"noopener\">\u003cem>Universal Beings\u003c/em>\u003c/a>, finds him behind the kit with ensembles assembled in separate sessions in New York, Chicago, London and Los Angeles. The heartbeat of McCraven’s music feels different; it’s suffused with contemporary influences like hip-hop and house music, and crafted, like an electronic beat, with layers of refrains. Like Akinmusire and Washington, McCraven treats more mainstream genres as additional shades on his musical canvas.\u003c/p>\n\u003cp>It’s hard to say that this music swings. It grooves, or perhaps more fittingly, it knocks. In that sense, McCraven’s work can feel alien at times to what one might classically describe as jazz. There’s a meditative quality to \u003cem>Universal Beings\u003c/em>: with the drums as the centerpiece, there are slow-burning builds and melodic runs that often revisit a prescient phrase once its found, repeating the moment like a beat on loop.\u003c/p>\n\u003cp>\u003cem>Universal Beings\u003c/em> and other releases on the label International Anthem draw connections to Chicago’s longstanding tradition of pushing the boundaries of jazz, dating back to the work of the \u003ca href=\"https://en.wikipedia.org/wiki/Association_for_the_Advancement_of_Creative_Musicians\" target=\"_blank\" rel=\"noopener\">Association for the Advancement of Creative Musicians\u003c/a> (AACM) in the 1960s and its outgrowth, \u003ca href=\"https://youtu.be/OZV6FzLeWeo\" target=\"_blank\" rel=\"noopener\">Art Ensemble of Chicago\u003c/a>.\u003c/p>\n\u003cp>International Anthem’s 2017 releases, like \u003cem>Fly or Die \u003c/em>by trumpeter Jaimie Branch and the self-titled debut of Irreversible Entanglements, deliver a raw musical intensity that stands apart from the spotless, sanitized recordings often heard in contemporary jazz. Rather than using the form to showcase virtuosity, McCraven, Branch and Irreversible Entanglements shift the focus back to thoughtful group interplay.\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/VifRr_P30uU'\n title='//www.youtube.com/embed/VifRr_P30uU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jazz has outlasted the likes of disco, rock’n’roll and new jack swing because it’s always been able to update its framework to accommodate the influences of its present-day exponents. In their own ways, Washington, Akinmusire and McCraven are all showing what jazz is capable of in 2018, revealing the staying power of one of America’s greatest cultural exports. Over 100 years from its inception, jazz is still a springboard for inventing new sounds and addressing the most pressing issues of our time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Jazz is such a malleable form that whenever you get different spheres of influence meeting it or attaching themselves to it, then it becomes something else,” said British saxophonist \u003ca href=\"https://youtu.be/NwCCfWiYk2s\" target=\"_blank\" rel=\"noopener\">Shabaka Hutchings\u003c/a>, a leading light in London’s jazz resurgence, in the short documentary \u003cem>We Out Here\u003c/em>. “You can see a branch of the tree spiral into another direction. It doesn’t negate the course the original branches are going in. It just means there’s some other perspectives.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "On '3rtys,' Veteran San Jose Battle Rapper Dirtbag Dan Reveals His Introspective Side",
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"content": "\u003cp>One month to prepare nine minutes of unique material directed squarely at your opponent, with hundreds of thousands of fans tuning in and no control over the barbs thrown your way once the cameras start rolling.\u003c/p>\n\u003cp>Such is the cutthroat nature of the a cappella battle rap leagues where Dirtbag Dan sharpened his skills. A star of the scene, Dan (born Daniel Martinez) has battled in Sweden, the U.K. and the Philippines. But no matter how far across the globe his rhymes have taken him, he’s never forgotten to pay homage to his hometown of San Jose with his signature battlecry: “The Zae, baby!”\u003c/p>\n\u003cp>His comedic approach, novel for its time, earned Martinez adoration and scorn alike as he rose in the ranks of the 2000s battle rap scene. It also set him up for a transition into stand-up comedy, which he started pursuing in earnest after retiring from battle rap in 2015, after 75 bouts and over 14 million total views online.\u003c/p>\n\u003cp>Though Martinez bowed out of battling, he’s hasn’t stepped completely away from the mic. His \u003cem>Dirtbag Dan Show \u003c/em>video podcast, broadcasting since 2012, established him as a battle rap commentator and comedic personality. With \u003cem>3rtys\u003c/em>, his new album out Aug. 30, he presents a work he admits is his most cohesive project to date. It’s also a monumental South Bay pairing, with production by Rey Resurreccion, a fellow San Jose rap heavyweight.\u003c/p>\n\u003cp>https://youtu.be/326C_HajilY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Compared to the outward aggression required to dominate one’s opponent in a rap battle, \u003cem>3rtys\u003c/em> finds Martinez channeling his focus inward. “\u003ca href=\"https://www.youtube.com/watch?v=_M6nwv9g50Q\">Suburbanites\u003c/a>,” a fan favorite from 2014’s \u003cem>Dirtbag Dan LP\u003c/em>, signaled that shift four years ago with a startlingly honest portrait of his upbringing. He further mines that creative space on his latest release, but not at the expense of the punchlines that earned him acclaim in the battle arena.\u003c/p>\n\u003cp>“There’s a lot less uncertainty in my life these days and a lot more accountability,” says Martinez. “I hope the album reflects that.”\u003c/p>\n\u003cp>He’s pliable lyrically over the nine-song set, and Resurreccion’s production remains constantly dialed into Martinez’s vibe. There’s the quick and quippy “Socials” with closing couplet “Even the president’s a twitter troll / The next President will be elected via Twitter poll.” “532AM” gets more personal, with Martinez sharing “My brother got popped with a shottie, he’ll probably see prison now / I can’t get him out, $90,000 bail, he’s just chilling in a cell / Trying to hit me on the cell, I was probably on a plane.”\u003c/p>\n\u003cp>“Caddy PH Immortal” is similarly pensive, with Martinez pondering life in the wake of losing two battle rap colleagues, Cadalack Ron and P.H. His tightly tightly-tailored vocal pattern adds a double-time immediacy to a bedrock of laid-back, searching keys and skittering hi-hats.\u003c/p>\n\u003cp>https://youtu.be/VVNbkYQsZX8\u003c/p>\n\u003cp>Despite the chemistry they exude on \u003cem>3rtys\u003c/em>, it took Martinez and Ressurreccion 20 years of orbiting in overlapping circles of the San Jose rap scene to finally come together.\u003c/p>\n\u003cp>“We’ve been on different ends of the spectrum in the scene for a long time,” notes Resurreccion inside his Japantown studio. Though the two are plenty familiar with one another—they both rose out of the city’s freestyle rap scene in their teens—they followed different musical trajectories in the years that followed.\u003c/p>\n\u003cp>While Martinez was building his rep on the battle rap league circuit, Resurreccion was honing his craft in studio, continuing to showcase his chops as an MC and producer over a series of slick, thoughtful releases.\u003c/p>\n\u003cp>“We represent every aspect of this city. Any parts that I didn’t fully immerse myself in, he did,” says Martinez. “This feels like a San Jose project more than anything else I’ve ever done.”\u003c/p>\n\u003cp>\u003cem>3rtys\u003c/em> wasn’t planned: it started a year and a half ago, when Martinez stopped by Resurreccion’s studio to pick up three beats, which eventually became the tracks “Danger,” “Socials” and “Church.”\u003c/p>\n\u003cp>“Any good project I’ve ever worked on has come together like that, where it’s not super thought-out. It kind of just starts rolling into a bigger ball,” says Martinez.\u003c/p>\n\u003cp>“Church” is the best showcase of Resurreccion’s catered production approach. The beat never grows complacent, constantly shifting under Martinez’s bars, sometimes even in the span of the same verse. “Danger,” the album’s darkest track, dives head-first into the struggles of exercising tough love with someone caught in the spiral of addiction.\u003c/p>\n\u003cp>https://youtu.be/gcOFUPmhYRM\u003c/p>\n\u003cp>After collaborating in secret for a year, “Sheet of Cid,” the album’s party anthem, was the first taste of \u003ci>3rtys.\u003c/i> Martinez released the song in March accompanied by a video of him and his friends in the desert, mid acid trip.\u003c/p>\n\u003cp>Compared to his ferocious, take-no-prisoners demeanor in those archived battles, \u003cem>3rtys \u003c/em>finds Martinez in a more patient, contemplative mood. As the title suggests, it’s indicative of where the two artists are in their respective careers.\u003c/p>\n\u003cp>Both in their mid-thirties, Martinez and Resurreccion admit it’s surreal to still be recording and performing after so many former colleagues have hung it up. Both bonafide veterans of the South Bay scene, there’s a definite confidence in their craft and process.\u003c/p>\n\u003cp>“There’s this poise that comes along with being confident in your training,” says Resurreccion. “I think when you can have more of a clear picture of that, all this uncertainty fades away a little bit more.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dirtbag Dan headlines the \u003c/em>3rtys\u003cem> record release party on Aug. 30 at the Elbo Room in San Francisco. \u003ca href=\"https://www.facebook.com/events/231617644129667/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One month to prepare nine minutes of unique material directed squarely at your opponent, with hundreds of thousands of fans tuning in and no control over the barbs thrown your way once the cameras start rolling.\u003c/p>\n\u003cp>Such is the cutthroat nature of the a cappella battle rap leagues where Dirtbag Dan sharpened his skills. A star of the scene, Dan (born Daniel Martinez) has battled in Sweden, the U.K. and the Philippines. But no matter how far across the globe his rhymes have taken him, he’s never forgotten to pay homage to his hometown of San Jose with his signature battlecry: “The Zae, baby!”\u003c/p>\n\u003cp>His comedic approach, novel for its time, earned Martinez adoration and scorn alike as he rose in the ranks of the 2000s battle rap scene. It also set him up for a transition into stand-up comedy, which he started pursuing in earnest after retiring from battle rap in 2015, after 75 bouts and over 14 million total views online.\u003c/p>\n\u003cp>Though Martinez bowed out of battling, he’s hasn’t stepped completely away from the mic. His \u003cem>Dirtbag Dan Show \u003c/em>video podcast, broadcasting since 2012, established him as a battle rap commentator and comedic personality. With \u003cem>3rtys\u003c/em>, his new album out Aug. 30, he presents a work he admits is his most cohesive project to date. It’s also a monumental South Bay pairing, with production by Rey Resurreccion, a fellow San Jose rap heavyweight.\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/326C_HajilY'\n title='//www.youtube.com/embed/326C_HajilY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Compared to the outward aggression required to dominate one’s opponent in a rap battle, \u003cem>3rtys\u003c/em> finds Martinez channeling his focus inward. “\u003ca href=\"https://www.youtube.com/watch?v=_M6nwv9g50Q\">Suburbanites\u003c/a>,” a fan favorite from 2014’s \u003cem>Dirtbag Dan LP\u003c/em>, signaled that shift four years ago with a startlingly honest portrait of his upbringing. He further mines that creative space on his latest release, but not at the expense of the punchlines that earned him acclaim in the battle arena.\u003c/p>\n\u003cp>“There’s a lot less uncertainty in my life these days and a lot more accountability,” says Martinez. “I hope the album reflects that.”\u003c/p>\n\u003cp>He’s pliable lyrically over the nine-song set, and Resurreccion’s production remains constantly dialed into Martinez’s vibe. There’s the quick and quippy “Socials” with closing couplet “Even the president’s a twitter troll / The next President will be elected via Twitter poll.” “532AM” gets more personal, with Martinez sharing “My brother got popped with a shottie, he’ll probably see prison now / I can’t get him out, $90,000 bail, he’s just chilling in a cell / Trying to hit me on the cell, I was probably on a plane.”\u003c/p>\n\u003cp>“Caddy PH Immortal” is similarly pensive, with Martinez pondering life in the wake of losing two battle rap colleagues, Cadalack Ron and P.H. His tightly tightly-tailored vocal pattern adds a double-time immediacy to a bedrock of laid-back, searching keys and skittering hi-hats.\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/VVNbkYQsZX8'\n title='//www.youtube.com/embed/VVNbkYQsZX8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite the chemistry they exude on \u003cem>3rtys\u003c/em>, it took Martinez and Ressurreccion 20 years of orbiting in overlapping circles of the San Jose rap scene to finally come together.\u003c/p>\n\u003cp>“We’ve been on different ends of the spectrum in the scene for a long time,” notes Resurreccion inside his Japantown studio. Though the two are plenty familiar with one another—they both rose out of the city’s freestyle rap scene in their teens—they followed different musical trajectories in the years that followed.\u003c/p>\n\u003cp>While Martinez was building his rep on the battle rap league circuit, Resurreccion was honing his craft in studio, continuing to showcase his chops as an MC and producer over a series of slick, thoughtful releases.\u003c/p>\n\u003cp>“We represent every aspect of this city. Any parts that I didn’t fully immerse myself in, he did,” says Martinez. “This feels like a San Jose project more than anything else I’ve ever done.”\u003c/p>\n\u003cp>\u003cem>3rtys\u003c/em> wasn’t planned: it started a year and a half ago, when Martinez stopped by Resurreccion’s studio to pick up three beats, which eventually became the tracks “Danger,” “Socials” and “Church.”\u003c/p>\n\u003cp>“Any good project I’ve ever worked on has come together like that, where it’s not super thought-out. It kind of just starts rolling into a bigger ball,” says Martinez.\u003c/p>\n\u003cp>“Church” is the best showcase of Resurreccion’s catered production approach. The beat never grows complacent, constantly shifting under Martinez’s bars, sometimes even in the span of the same verse. “Danger,” the album’s darkest track, dives head-first into the struggles of exercising tough love with someone caught in the spiral of addiction.\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/gcOFUPmhYRM'\n title='//www.youtube.com/embed/gcOFUPmhYRM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After collaborating in secret for a year, “Sheet of Cid,” the album’s party anthem, was the first taste of \u003ci>3rtys.\u003c/i> Martinez released the song in March accompanied by a video of him and his friends in the desert, mid acid trip.\u003c/p>\n\u003cp>Compared to his ferocious, take-no-prisoners demeanor in those archived battles, \u003cem>3rtys \u003c/em>finds Martinez in a more patient, contemplative mood. As the title suggests, it’s indicative of where the two artists are in their respective careers.\u003c/p>\n\u003cp>Both in their mid-thirties, Martinez and Resurreccion admit it’s surreal to still be recording and performing after so many former colleagues have hung it up. Both bonafide veterans of the South Bay scene, there’s a definite confidence in their craft and process.\u003c/p>\n\u003cp>“There’s this poise that comes along with being confident in your training,” says Resurreccion. “I think when you can have more of a clear picture of that, all this uncertainty fades away a little bit more.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dirtbag Dan headlines the \u003c/em>3rtys\u003cem> record release party on Aug. 30 at the Elbo Room in San Francisco. \u003ca href=\"https://www.facebook.com/events/231617644129667/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Revered Drummer Brian Blade Draws a Through-Line from Jazz to Gospel",
"headTitle": "Revered Drummer Brian Blade Draws a Through-Line from Jazz to Gospel | KQED",
"content": "\u003cp>Thanks to his greatest mentor, Brian Blade has learned to never stop exploring.\u003c/p>\n\u003cp>As he tells KQED Arts over the phone from his home in Shreveport, Louisiana, that man is his father, Brady L. Blade, Sr., who’s been pastor at Zion Baptist Church in his hometown for more than 50 years.\u003c/p>\n\u003cp>“He’s been reading the same Scriptures for 75 years now, and he’s still digging,” he emphasizes, slowing his phrasing to carefully tend to each syllable, “still looking to share this parable in another way to make it resonate with someone who’s there listening.”\u003c/p>\n\u003cp>“I carry that with me,” he says. “I hope that I have just a bit of his dedication.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oanAeie_Tag\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Blade is likely best known for his role supporting saxophone legend Wayne Shorter in his current quartet, a post he’s held for the past 17 years. Shorter’s band is revered in the jazz realm for their near-telepathic connection to one another, building to electric crescendos from a blank musical slate. But this week, when he appears at SFJAZZ’s Miner Auditorium as part of the \u003ca href=\"https://www.sfjazz.org/calendar/?month=6.2018\" target=\"_blank\" rel=\"noopener\">36th annual San Francisco Jazz Festival\u003c/a>, Blade presents a more folkloric side of his musical mind.\u003c/p>\n\u003cp>On June 12, Blade leads the Fellowship, a group he fronts with composer and pianist Jon Cowherd, with whom he started writing music at Loyola University in 1988. The ensemble also features Myron Walden on alto saxophone and bass clarinet, Melvin Butler on soprano and tenor saxophones, Chris Thomas on bass and Kurt Rosenwinkel on guitar. The Fellowship’s career spans two decades and five gorgeous gospel-infused albums, each one a celebration of, and testament to, the deep sense of unity and intention that marks the Fellowship’s approach.\u003c/p>\n\u003cp>Compared to the tightly-wound tension and release present in his work with Shorter, which at times can build to a \u003ca href=\"https://www.youtube.com/watch?v=kJx0fryrcUo\">violent, cathartic intensity\u003c/a>, Blade’s music with the Fellowship may feel subdued. But this is by choice—their focus as an ensemble has long been cultivating a synchronized collective performance as opposed to highlighting virtuoso soloists, an outgrowth of what Blade refers to as a “fraternal unity” within the group.\u003c/p>\n\u003cp>“One of the many things I love about the band and our collective voice is that we all have reverence for the pure melodic content of a song, of storytelling, of that simplicity,” Blade shares. “It takes a great discipline and focus and submission to find your part, even if that part means not playing.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6qwv2f5m0xM\u003c/p>\n\u003cp>Before the group’s self-titled debut in 1998, Blade was well on his way toward building a highly successful career as a session musician, drumming on tour and in the studio with jazz’s rising talents and even some icons of rock and roots music. By that time, he had already worked with Bob Dylan, Emmylou Harris and Joshua Redman, and had just started collaborating with Joni Mitchell, one of his musical heroes. Yet he says he still felt an “unction,” an incessant desire to share his own musical voice with the world.\u003c/p>\n\u003cp>There’s an ecstatic revelation to the Fellowship’s music, and a depth that emerges in time from what, on the surface, sounds simple. Blade admits that jazz may be the pronounced through-line in the music, but the sonic textures also reveal shades of country, folk and gospel, the latter a natural outgrowth from his formative years playing drums in Zion Baptist’s worship band.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Take the three versions of the title track of the group’s latest, \u003cem>Body and Shadow\u003c/em>, released late last year. Demarcated by time—morning, noon and night—the underlying melody may sound similar in all three versions, but the essence is quite different in each short, impressionistic take. Blade likens the approach to staring out the same window as the day passes, an act that seems static until one examines the changes in their surroundings. “You realize we’re turning on this axis,” he says. “We’re in this massive universe and things are moving and we don’t even perceive it necessarily.” \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Similarly, there are two versions of the spiritual “Have Thine Own Way, Lord,” with Cowherd’s solo performance on harmonium providing a bittersweet reading that turns triumphant in the full band’s hands.\u003c/span>\u003c/p>\n\u003cp>With each subsequent project, the Fellowship seems more content to explore the nuances of a composition rather than continually revisit the “improvisation chasm” present in instrumental jazz, when a soloist steps into the spotlight to improvise while the rest of the band follows their musical lead. There’s a definite power present in their restraint.\u003c/p>\n\u003cp>“Obviously, the improvisation chasm that we can all step into is also something I love, but at the same time, I love striking the balance between playing what you want and playing what’s there, and only that,” says Blade.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w26SF8kwEKg\u003c/p>\n\u003cp>Dedication comes up plenty in interviews with Blade, albeit in a selfless sense. He speaks of notions like surrendering to the moment, or finding the best avenue to “serve the song” in a given musical context. It’s a mindset he soaked up during those early days in church ensemble from people like organist Colette Murdoc, music director Donnell Hickman and his older brother Brady, Jr., whose drum seat Brian stepped into at age 13.\u003c/p>\n\u003cp>“They gave it all, so perfectly and beautifully and powerfully, to the worship, to the praise and to the music that they were responsible for. Anything less would be—” he trails off, catching himself with a playful laugh. “How can you not give it all? How can you not actually feel good about that?”\u003c/p>\n\u003cp>Blade’s followed their example quite well in the years since. It’s rare to see him playing without a grin on his face, no matter the musical context.\u003c/p>\n\u003cfigure id=\"attachment_13834496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834496\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-800x500.jpg\" alt=\"Brian Blade and the Fellowship perform at SFJAZZ in 2016.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian Blade and the Fellowship perform at SFJAZZ in 2016. \u003ccite>(Grason Littles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked if the rest of the Fellowship feels a similar same sense of purpose and musical responsibility when performing, he says, “I think so. I would hope so. I feel like each of us individually has our own sort of desire in life, like you feel this calling to do what we’re doing, and the desire to not take that lightly but to cultivate and make it so that that oneness is revealed in the sound.\u003c/p>\n\u003cp>“When there’s that sort of sharing, and singular mindedness when it comes to being a part of a group, then I think the music can really become that cosmic healing chemical,” he adds. “Then the alchemy is like ‘Oh, yeah. This is medicine. This is what we needed.'”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Brian Blade and the Fellowship perform Tuesday, June 12, at the SFJAZZ Center. \u003ca href=\"https://www.sfjazz.org/tickets/productions/brian-blade-fellowship/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thanks to his greatest mentor, Brian Blade has learned to never stop exploring.\u003c/p>\n\u003cp>As he tells KQED Arts over the phone from his home in Shreveport, Louisiana, that man is his father, Brady L. Blade, Sr., who’s been pastor at Zion Baptist Church in his hometown for more than 50 years.\u003c/p>\n\u003cp>“He’s been reading the same Scriptures for 75 years now, and he’s still digging,” he emphasizes, slowing his phrasing to carefully tend to each syllable, “still looking to share this parable in another way to make it resonate with someone who’s there listening.”\u003c/p>\n\u003cp>“I carry that with me,” he says. “I hope that I have just a bit of his dedication.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oanAeie_Tag'\n title='//www.youtube.com/embed/oanAeie_Tag'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Blade is likely best known for his role supporting saxophone legend Wayne Shorter in his current quartet, a post he’s held for the past 17 years. Shorter’s band is revered in the jazz realm for their near-telepathic connection to one another, building to electric crescendos from a blank musical slate. But this week, when he appears at SFJAZZ’s Miner Auditorium as part of the \u003ca href=\"https://www.sfjazz.org/calendar/?month=6.2018\" target=\"_blank\" rel=\"noopener\">36th annual San Francisco Jazz Festival\u003c/a>, Blade presents a more folkloric side of his musical mind.\u003c/p>\n\u003cp>On June 12, Blade leads the Fellowship, a group he fronts with composer and pianist Jon Cowherd, with whom he started writing music at Loyola University in 1988. The ensemble also features Myron Walden on alto saxophone and bass clarinet, Melvin Butler on soprano and tenor saxophones, Chris Thomas on bass and Kurt Rosenwinkel on guitar. The Fellowship’s career spans two decades and five gorgeous gospel-infused albums, each one a celebration of, and testament to, the deep sense of unity and intention that marks the Fellowship’s approach.\u003c/p>\n\u003cp>Compared to the tightly-wound tension and release present in his work with Shorter, which at times can build to a \u003ca href=\"https://www.youtube.com/watch?v=kJx0fryrcUo\">violent, cathartic intensity\u003c/a>, Blade’s music with the Fellowship may feel subdued. But this is by choice—their focus as an ensemble has long been cultivating a synchronized collective performance as opposed to highlighting virtuoso soloists, an outgrowth of what Blade refers to as a “fraternal unity” within the group.\u003c/p>\n\u003cp>“One of the many things I love about the band and our collective voice is that we all have reverence for the pure melodic content of a song, of storytelling, of that simplicity,” Blade shares. “It takes a great discipline and focus and submission to find your part, even if that part means not playing.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6qwv2f5m0xM'\n title='//www.youtube.com/embed/6qwv2f5m0xM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before the group’s self-titled debut in 1998, Blade was well on his way toward building a highly successful career as a session musician, drumming on tour and in the studio with jazz’s rising talents and even some icons of rock and roots music. By that time, he had already worked with Bob Dylan, Emmylou Harris and Joshua Redman, and had just started collaborating with Joni Mitchell, one of his musical heroes. Yet he says he still felt an “unction,” an incessant desire to share his own musical voice with the world.\u003c/p>\n\u003cp>There’s an ecstatic revelation to the Fellowship’s music, and a depth that emerges in time from what, on the surface, sounds simple. Blade admits that jazz may be the pronounced through-line in the music, but the sonic textures also reveal shades of country, folk and gospel, the latter a natural outgrowth from his formative years playing drums in Zion Baptist’s worship band.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Take the three versions of the title track of the group’s latest, \u003cem>Body and Shadow\u003c/em>, released late last year. Demarcated by time—morning, noon and night—the underlying melody may sound similar in all three versions, but the essence is quite different in each short, impressionistic take. Blade likens the approach to staring out the same window as the day passes, an act that seems static until one examines the changes in their surroundings. “You realize we’re turning on this axis,” he says. “We’re in this massive universe and things are moving and we don’t even perceive it necessarily.” \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Similarly, there are two versions of the spiritual “Have Thine Own Way, Lord,” with Cowherd’s solo performance on harmonium providing a bittersweet reading that turns triumphant in the full band’s hands.\u003c/span>\u003c/p>\n\u003cp>With each subsequent project, the Fellowship seems more content to explore the nuances of a composition rather than continually revisit the “improvisation chasm” present in instrumental jazz, when a soloist steps into the spotlight to improvise while the rest of the band follows their musical lead. There’s a definite power present in their restraint.\u003c/p>\n\u003cp>“Obviously, the improvisation chasm that we can all step into is also something I love, but at the same time, I love striking the balance between playing what you want and playing what’s there, and only that,” says Blade.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/w26SF8kwEKg'\n title='//www.youtube.com/embed/w26SF8kwEKg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dedication comes up plenty in interviews with Blade, albeit in a selfless sense. He speaks of notions like surrendering to the moment, or finding the best avenue to “serve the song” in a given musical context. It’s a mindset he soaked up during those early days in church ensemble from people like organist Colette Murdoc, music director Donnell Hickman and his older brother Brady, Jr., whose drum seat Brian stepped into at age 13.\u003c/p>\n\u003cp>“They gave it all, so perfectly and beautifully and powerfully, to the worship, to the praise and to the music that they were responsible for. Anything less would be—” he trails off, catching himself with a playful laugh. “How can you not give it all? How can you not actually feel good about that?”\u003c/p>\n\u003cp>Blade’s followed their example quite well in the years since. It’s rare to see him playing without a grin on his face, no matter the musical context.\u003c/p>\n\u003cfigure id=\"attachment_13834496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834496\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-800x500.jpg\" alt=\"Brian Blade and the Fellowship perform at SFJAZZ in 2016.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian Blade and the Fellowship perform at SFJAZZ in 2016. \u003ccite>(Grason Littles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked if the rest of the Fellowship feels a similar same sense of purpose and musical responsibility when performing, he says, “I think so. I would hope so. I feel like each of us individually has our own sort of desire in life, like you feel this calling to do what we’re doing, and the desire to not take that lightly but to cultivate and make it so that that oneness is revealed in the sound.\u003c/p>\n\u003cp>“When there’s that sort of sharing, and singular mindedness when it comes to being a part of a group, then I think the music can really become that cosmic healing chemical,” he adds. “Then the alchemy is like ‘Oh, yeah. This is medicine. This is what we needed.'”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Brian Blade and the Fellowship perform Tuesday, June 12, at the SFJAZZ Center. \u003ca href=\"https://www.sfjazz.org/tickets/productions/brian-blade-fellowship/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "south-bay-summer-sights-and-sounds-in-san-jose-and-beyond",
"title": "South Bay Summer: Sights and Sounds in San Jose and Beyond",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/series/summer-guide-2018\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-13832925\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>That amorphous swath of the Bay Area known as Silicon Valley conjures images of Facebook’s headquarters more than it does live music and art, but that’s not to say the South Bay doesn’t have a vibrant cultural landscape of its own.\u003c/p>\n\u003cp>Summer is a time when the valley’s creative spirit shines brightest. Typically dormant streets and parks spring to life, showcasing acts both local and global, and celebrating old and new traditions. With long-standing institutions and under-the-radar events, the South Bay offers a lot to explore. Here are our eight must-do summer activities.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12228688\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12228688\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Cellista_BirdCage_2014.jpg\" alt=\"\" width=\"640\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_BirdCage_2014.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_BirdCage_2014-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_BirdCage_2014-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_BirdCage_2014-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_BirdCage_2014-520x345.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cellista art installation & performance at SubZERO Festival 2014. \u003ccite>(Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>11th Annual SubZERO Festival\u003c/h2>\n\u003cp>\u003cem>June 1-2\u003cbr>\nSoFA District, San Jose.\u003cbr>\n\u003ca href=\"http://www.subzerofestival.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>SubZERO’s tagline is “a DIY, artistically bent, hi/lo-techno mashup where street meets geek,” and the festival has emerged as one of the most authentic platforms for San Jose’s creative community. After more than a decade, its only constant is how eclectic and weird the weekend can be. This June, Human Art Collective is back with body painting; Haptic Synapses craft live analog techno on the street; and the Santa Clara County poet laureate Mighty Mike McGee shares his work between musical acts on the main stage, which features Lumerians and Death Cheetah.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13833630\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-800x500.jpg\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Mumlers, led by vocalist Will Sprott (third from R), reunite on June 16. \u003ccite>(Andrew Paynter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Mumlers\u003c/h2>\n\u003cp>\u003cem>June 16\u003cbr>\nThe Ritz, San Jose\u003cbr>\n\u003ca href=\"http://theritzsanjose.com/shows/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>San Jose’s rich skateboarding community unites for a good cause next month, culminating in a rare reunion of South Bay indie rock favorites the Mumlers. This will be only their second performance over the past decade. Bandleader Will Sprott says the band has been busy with other projects—Sprott himself has been writing solo material and working with Oakland garage rock revivalists Shannon and the Clams—but he says the Mumlers are “getting back together to help raise cash for a friend.” The performance is a fundraiser in support of beloved local skater \u003ca href=\"https://www.youcaring.com/gerryjuan-1129508\" target=\"_blank\" rel=\"noopener\">Gerry Juan\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11952824\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11952824\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/upload-16691893189246341-e1471565326579-800x467.jpg\" alt=\"\" width=\"800\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/upload-16691893189246341-e1471565326579-800x467.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/upload-16691893189246341-e1471565326579-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/upload-16691893189246341-e1471565326579-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/upload-16691893189246341-e1471565326579-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/upload-16691893189246341-e1471565326579.jpg 1017w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tony! Toni! Toné!\u003c/figcaption>\u003c/figure>\n\u003ch2>Music in the Park: Tony! Toni! Tone!\u003c/h2>\n\u003cp>\u003cem>June 22.\u003cbr>\nPlaza de Cesar Chavez, San Jose\u003cbr>\n\u003ca href=\"https://sjdowntown.com/music-in-the-park/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/em>\u003c/p>\n\u003cp>Music in the Park may no longer be free, but the San Jose Downtown Association still presents live music at modest prices throughout the summer ($15 in advance for general admission; $35 for VIP). Legendary R&B trio Tony! Toni! Toné! from Oakland kicks off this year’s festival series at Plaza de Cesar Chavez on June 22. Don’t sleep on the stacked local undercard, which includes DJs Chale Brown and the CME, followed by neo-soul powerhouse No Water After Midnight—San Jose’s best kept musical secret.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13833628\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-800x500.jpg\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-520x325.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Crosser” (2000) by Rafael Fajardo. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>NextNewGames\u003c/h2>\n\u003cp>\u003cem>June 22 – Sept. 16\u003cbr>\nSan Jose Institute of Contemporary Art\u003cbr>\n\u003ca href=\"https://www.sjica.org/upcoming-exhibitions/nextnewgames/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/em>\u003c/p>\n\u003cp>In the next installment of the biannual “NextNew”\u003cem> \u003c/em>series, the San Jose Institute of Contemporary Art presents eight artists who create “a porous relationship between the imaginary land of the game space and that of the real world.” In “Liberty City,” creative duo COLL.EO bring game play in \u003cem>Grand Theft Auto \u003c/em>to a crawl, revealing a surprisingly active side to the extensive landscape by Rockstar Games designers. For a more hands-on experience, check out the work of Rafael Fajardo, whose two games provide contrasting glimpses into the experience of crossing the U.S.-Mexico border.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11872132\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11872132\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_-800x500.jpg\" alt=\"The Chidori Band performs at the Obon festival in San Jose's Japantown on July 9, 2016.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Chidori Band performs at the Obon festival in San Jose’s Japantown on July 9, 2016. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Jose Obon Festival\u003c/h2>\n\u003cp>\u003cem>July 14-15\u003cbr>\nSan Jose Buddhist Church Betsuin, San Jose\u003cbr>\n\u003ca href=\"http://www.jtown.org/events/2018/7/14/san-jose-obon-festival\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/em>\u003c/p>\n\u003cp>The San Jose Obon Festival is the biggest weekend of the year for San Jose’s Japantown neighborhood. The fest coincides with the seasonal Buddhist tradition of honoring the spirits of ancestors. Yes, there are food and vendor booths, but the festival’s centerpiece is usually San Jose Taiko, who mix booming percussion with light and fluid choreography. They’ve been sharing the Japanese tradition of \u003cem>kumidaiko\u003c/em>, a drum performance style that’s been around since the ’50s, locally since 1973.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13833631\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833631\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pete Escovedo performs with his Latin Jazz Orchestra at the E Spot in Studio City, 2015. \u003ccite>(Pete Escovedo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Pete Escovedo\u003c/h2>\n\u003cp>\u003cem>Aug. 22\u003cbr>\nTown Plaza, Los Gatos\u003cbr>\n\u003ca href=\"http://jazzontheplazz.com/2018-artists\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Born into a highly musical family, percussionist Pete Escovedo emerged as a Latin jazz heavyweight after his work in the ’70s with Santana and Azteca. He’s remained a South Bay crowd favorite ever since. (Did I mention he once owned a Latin jazz club in SJ’s SoFA District?) He’s been a staple of Music in the Park’s programming over the years, and this year, fans can catch him at the more intimate Los Gatos Town Plaza. Escovedo and his band close out the free Jazz on the Plazz summer series, a Wednesday weekly that kicks off June 13. Bring a blanket or folding chair and make sure you arrive early to see a living legend up close.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-13833627\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-800x500.jpg\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\n\u003ch2>Native Gardens\u003c/h2>\n\u003cp>\u003cem>Opens Aug. 22\u003cbr>\nCenter for Performing Arts, Mountain View\u003cbr>\n\u003ca href=\"https://www.theatreworks.org/201819-season/201819-season/native-gardens/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/em>\u003c/p>\n\u003cp>TheatreWorks’ regional premiere, the latest play by Mexican-born, Washington, D.C.-based playwright Karen Zacarías, sees a territorial dispute devolve into a comedic examination of class, race and privilege. An upwardly mobile Latino couple—attorney Pablo and his pregnant wife, doctoral candidate Tania—move next door to established D.C. couple Frank and Virginia, who have cultivated a stellar English garden in their backyard. When their long-standing property line comes into question, civility goes out the window. The play runs through Sept. 16.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13833809\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-800x500.jpg\" alt=\"Sister Mantos vocalist Oscar Miguel Santos performs at Second Annual Sonido Clash Festival, September 3, 2017. \" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sister Mantos vocalist Oscar Miguel Santos performs at Second Annual Sonido Clash Festival, September 3, 2017. \u003ccite>(Samuel Reyes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sonido Clash Festival\u003c/h2>\n\u003cp>\u003cem>Sept. 2\u003cbr>\nMexican Heritage Plaza, San Jose\u003cbr>\n\u003ca href=\"http://sonidoclash.com/sonido-clash-music-fest/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Best known for their “Selenabration” tribute parties, which paid homage to Selena in San Jose and Oakland this year, the \u003ca href=\"https://www.kqed.org/arts/13806897/forget-despacito-sonido-clash-brings-latin-sounds-youve-never-heard\">Sonido Clash\u003c/a> collective has a reputation for curating Latinx sounds that honor the past while exploring the future of cumbia, Latin alternative and beyond. Presale passes for their third annual Sonido Clash Festival recently went on sale, but they have yet to reveal the acts for this summer’s festivities. Last year featured teenage heartthrob Cuco, “cholo goth” duo Prayers and Ecuadorian-American vocalist Helado Negro. Expect a similarly eclectic curation this September at Mexican Heritage Plaza.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/series/summer-guide-2018\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-13832925\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/HotSummer_300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>That amorphous swath of the Bay Area known as Silicon Valley conjures images of Facebook’s headquarters more than it does live music and art, but that’s not to say the South Bay doesn’t have a vibrant cultural landscape of its own.\u003c/p>\n\u003cp>Summer is a time when the valley’s creative spirit shines brightest. Typically dormant streets and parks spring to life, showcasing acts both local and global, and celebrating old and new traditions. With long-standing institutions and under-the-radar events, the South Bay offers a lot to explore. Here are our eight must-do summer activities.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12228688\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12228688\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Cellista_BirdCage_2014.jpg\" alt=\"\" width=\"640\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_BirdCage_2014.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_BirdCage_2014-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_BirdCage_2014-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_BirdCage_2014-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Cellista_BirdCage_2014-520x345.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cellista art installation & performance at SubZERO Festival 2014. \u003ccite>(Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>11th Annual SubZERO Festival\u003c/h2>\n\u003cp>\u003cem>June 1-2\u003cbr>\nSoFA District, San Jose.\u003cbr>\n\u003ca href=\"http://www.subzerofestival.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>SubZERO’s tagline is “a DIY, artistically bent, hi/lo-techno mashup where street meets geek,” and the festival has emerged as one of the most authentic platforms for San Jose’s creative community. After more than a decade, its only constant is how eclectic and weird the weekend can be. This June, Human Art Collective is back with body painting; Haptic Synapses craft live analog techno on the street; and the Santa Clara County poet laureate Mighty Mike McGee shares his work between musical acts on the main stage, which features Lumerians and Death Cheetah.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13833630\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-800x500.jpg\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Mumlers-promo-1920x1200-cred-Andrew-Paynter-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Mumlers, led by vocalist Will Sprott (third from R), reunite on June 16. \u003ccite>(Andrew Paynter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Mumlers\u003c/h2>\n\u003cp>\u003cem>June 16\u003cbr>\nThe Ritz, San Jose\u003cbr>\n\u003ca href=\"http://theritzsanjose.com/shows/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>San Jose’s rich skateboarding community unites for a good cause next month, culminating in a rare reunion of South Bay indie rock favorites the Mumlers. This will be only their second performance over the past decade. Bandleader Will Sprott says the band has been busy with other projects—Sprott himself has been writing solo material and working with Oakland garage rock revivalists Shannon and the Clams—but he says the Mumlers are “getting back together to help raise cash for a friend.” The performance is a fundraiser in support of beloved local skater \u003ca href=\"https://www.youcaring.com/gerryjuan-1129508\" target=\"_blank\" rel=\"noopener\">Gerry Juan\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11952824\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11952824\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/upload-16691893189246341-e1471565326579-800x467.jpg\" alt=\"\" width=\"800\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/upload-16691893189246341-e1471565326579-800x467.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/upload-16691893189246341-e1471565326579-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/upload-16691893189246341-e1471565326579-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/upload-16691893189246341-e1471565326579-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/upload-16691893189246341-e1471565326579.jpg 1017w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tony! Toni! Toné!\u003c/figcaption>\u003c/figure>\n\u003ch2>Music in the Park: Tony! Toni! Tone!\u003c/h2>\n\u003cp>\u003cem>June 22.\u003cbr>\nPlaza de Cesar Chavez, San Jose\u003cbr>\n\u003ca href=\"https://sjdowntown.com/music-in-the-park/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/em>\u003c/p>\n\u003cp>Music in the Park may no longer be free, but the San Jose Downtown Association still presents live music at modest prices throughout the summer ($15 in advance for general admission; $35 for VIP). Legendary R&B trio Tony! Toni! Toné! from Oakland kicks off this year’s festival series at Plaza de Cesar Chavez on June 22. Don’t sleep on the stacked local undercard, which includes DJs Chale Brown and the CME, followed by neo-soul powerhouse No Water After Midnight—San Jose’s best kept musical secret.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13833628\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-800x500.jpg\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist-520x325.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RafaelFajardo-Crosser-and-La-Migra-1024x640-Courtesy-of-Artist.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Crosser” (2000) by Rafael Fajardo. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>NextNewGames\u003c/h2>\n\u003cp>\u003cem>June 22 – Sept. 16\u003cbr>\nSan Jose Institute of Contemporary Art\u003cbr>\n\u003ca href=\"https://www.sjica.org/upcoming-exhibitions/nextnewgames/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/em>\u003c/p>\n\u003cp>In the next installment of the biannual “NextNew”\u003cem> \u003c/em>series, the San Jose Institute of Contemporary Art presents eight artists who create “a porous relationship between the imaginary land of the game space and that of the real world.” In “Liberty City,” creative duo COLL.EO bring game play in \u003cem>Grand Theft Auto \u003c/em>to a crawl, revealing a surprisingly active side to the extensive landscape by Rockstar Games designers. For a more hands-on experience, check out the work of Rafael Fajardo, whose two games provide contrasting glimpses into the experience of crossing the U.S.-Mexico border.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11872132\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11872132\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_-800x500.jpg\" alt=\"The Chidori Band performs at the Obon festival in San Jose's Japantown on July 9, 2016.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Chidori.MAIN_-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Chidori Band performs at the Obon festival in San Jose’s Japantown on July 9, 2016. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Jose Obon Festival\u003c/h2>\n\u003cp>\u003cem>July 14-15\u003cbr>\nSan Jose Buddhist Church Betsuin, San Jose\u003cbr>\n\u003ca href=\"http://www.jtown.org/events/2018/7/14/san-jose-obon-festival\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/em>\u003c/p>\n\u003cp>The San Jose Obon Festival is the biggest weekend of the year for San Jose’s Japantown neighborhood. The fest coincides with the seasonal Buddhist tradition of honoring the spirits of ancestors. Yes, there are food and vendor booths, but the festival’s centerpiece is usually San Jose Taiko, who mix booming percussion with light and fluid choreography. They’ve been sharing the Japanese tradition of \u003cem>kumidaiko\u003c/em>, a drum performance style that’s been around since the ’50s, locally since 1973.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13833631\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833631\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Pete-Escovedo-at-E-Spot-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pete Escovedo performs with his Latin Jazz Orchestra at the E Spot in Studio City, 2015. \u003ccite>(Pete Escovedo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Pete Escovedo\u003c/h2>\n\u003cp>\u003cem>Aug. 22\u003cbr>\nTown Plaza, Los Gatos\u003cbr>\n\u003ca href=\"http://jazzontheplazz.com/2018-artists\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Born into a highly musical family, percussionist Pete Escovedo emerged as a Latin jazz heavyweight after his work in the ’70s with Santana and Azteca. He’s remained a South Bay crowd favorite ever since. (Did I mention he once owned a Latin jazz club in SJ’s SoFA District?) He’s been a staple of Music in the Park’s programming over the years, and this year, fans can catch him at the more intimate Los Gatos Town Plaza. Escovedo and his band close out the free Jazz on the Plazz summer series, a Wednesday weekly that kicks off June 13. Bring a blanket or folding chair and make sure you arrive early to see a living legend up close.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-13833627\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-800x500.jpg\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Native-Gardens-KQED-1920x1200-TheatreWorks-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\n\u003ch2>Native Gardens\u003c/h2>\n\u003cp>\u003cem>Opens Aug. 22\u003cbr>\nCenter for Performing Arts, Mountain View\u003cbr>\n\u003ca href=\"https://www.theatreworks.org/201819-season/201819-season/native-gardens/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a> \u003c/em>\u003c/p>\n\u003cp>TheatreWorks’ regional premiere, the latest play by Mexican-born, Washington, D.C.-based playwright Karen Zacarías, sees a territorial dispute devolve into a comedic examination of class, race and privilege. An upwardly mobile Latino couple—attorney Pablo and his pregnant wife, doctoral candidate Tania—move next door to established D.C. couple Frank and Virginia, who have cultivated a stellar English garden in their backyard. When their long-standing property line comes into question, civility goes out the window. The play runs through Sept. 16.\u003c/p>\n\u003c/div>\n\u003cp> \u003c/p>\n\u003chr>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13833809\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-800x500.jpg\" alt=\"Sister Mantos vocalist Oscar Miguel Santos performs at Second Annual Sonido Clash Festival, September 3, 2017. \" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Sonido-Clash-Fest-17-Sister-Mantos-Cred-Samuel-Reyes-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sister Mantos vocalist Oscar Miguel Santos performs at Second Annual Sonido Clash Festival, September 3, 2017. \u003ccite>(Samuel Reyes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sonido Clash Festival\u003c/h2>\n\u003cp>\u003cem>Sept. 2\u003cbr>\nMexican Heritage Plaza, San Jose\u003cbr>\n\u003ca href=\"http://sonidoclash.com/sonido-clash-music-fest/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Best known for their “Selenabration” tribute parties, which paid homage to Selena in San Jose and Oakland this year, the \u003ca href=\"https://www.kqed.org/arts/13806897/forget-despacito-sonido-clash-brings-latin-sounds-youve-never-heard\">Sonido Clash\u003c/a> collective has a reputation for curating Latinx sounds that honor the past while exploring the future of cumbia, Latin alternative and beyond. Presale passes for their third annual Sonido Clash Festival recently went on sale, but they have yet to reveal the acts for this summer’s festivities. Last year featured teenage heartthrob Cuco, “cholo goth” duo Prayers and Ecuadorian-American vocalist Helado Negro. Expect a similarly eclectic curation this September at Mexican Heritage Plaza.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "DJ Platurn Reveals Iceland's Groovy Side with 'Breaking the Ice'",
"headTitle": "DJ Platurn Reveals Iceland’s Groovy Side with ‘Breaking the Ice’ | KQED",
"content": "\u003cp>On a recent evening in a warm, wood-paneled auditorium at the Oakland Museum of California, \u003ca href=\"https://djplaturn.com/\" target=\"_blank\" rel=\"noopener\">DJ Platurn\u003c/a> maintains a surprisingly low-key demeanor as he prepares to unveil his new LP, \u003cem>Breaking the Ice.\u003c/em> The collection of rare, Icelandic music took Platurn 12 years to collect and mix; it’s his most ambitious and personal project to date.\u003c/p>\n\u003cp>“There’s gonna be familiar stuff, but just enjoy the fact that you’ve never heard any of this music,” he says, pressing play on the 87-minute-long sonic tapestry he stitched together from roughly 70 songs spanning the mid-’60s through the mid’-80s. In a world that grants near-instant access to the previously unfamiliar, his invitation to simply get lost in the music feels romantically nostalgic.\u003c/p>\n\u003cp>As Platurn notes at the release party, familiar reference points pop up periodically throughout \u003cem>Breaking the Ice,\u003c/em> released last month via San Jose’s \u003ca href=\"https://needletothegroove.net/\" target=\"_blank\" rel=\"noopener\">Needle to the Groove Records\u003c/a>. There’s an Aretha Franklin cover, a “Jingle Bells” rendition that sounds like it was retouched by ’70s-era Herbie Hancock, and a short segment of a cover of the Mamas & the Papas’ “California Dreaming.” During the post-mix Q&A, Platurn reveals that the Icelandic lyrics of the latter re-frame the tune as “Farm Boy’s Dream,” a tale of city kids’ summertime excursions to the countryside, a rite of passage in Iceland.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/378598712″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>This reimagining explains \u003cem>Breaking the Ice\u003c/em> quite well — curiously familiar, yet oddly distant. The project can be compared to the immersive yet dissociative pastiche of \u003cem>Since I Left You\u003c/em> by the Avalanches, or perhaps Madlib’s \u003cem>Shades of Blue\u003c/em>, the famed producer’s curated, embellished glance through the Blue Note Records archives. Platurn’s eclectic mix visits psych, soul, hard rock, folk, folk rock, and elements of R&B. Soft melodies crash into heavy drum freakouts. Children’s songs sit in the mix with proto-rap.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With these eclectic pairings, \u003cem>Breaking the Ice\u003c/em> pieces together a groovier side of Iceland, one that often recalls American funk and soul music. It’s a fascinating exploration of the musical history of a formerly-isolated island country best known for rock — or in recent years, the eccentric artistry of Björk and Sigur Rós.\u003c/p>\n\u003cp>The project is also deeply personal for Platurn. “I wanted to do something that meant something for our little family that traveled here 35 years ago and brought all our records with us,” he says.\u003c/p>\n\u003ch3>Unique Upbringing, Boundary-Pushing Musical Taste\u003c/h3>\n\u003cp>A few fans at the listening party comment that Platurn may well be the only person on the planet who could’ve conceived \u003cem>Breaking the Ice.\u003c/em> Indeed, his family’s extensive record collection provided him with the perfect archives to source these rare Icelandic tunes. In the ’70s, a time in Iceland the liner notes describe as “painfully unadventurous,” his father, Magnus Thordarson, was a highly influential promoter and radio DJ that broke new sounds on the airwaves. (The stage name “Platurn” comes from \u003cem>p\u003c/em>\u003cem>lötusnúður\u003c/em>, the Icelandic word for DJ or “plate turner.”)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=noKkrWo-2WE\u003c/p>\n\u003cp>Platurn grew up an avid hip-hop fan in the East Bay in the ’90s, and digging for drum breaks to sample inevitably prepared him for the decade-plus saga of “groove excavation” he refers to in the project’s mini-doc. As the mix reveals, his 20-plus years in the game have helped him develop a keen ear for a good groove.\u003c/p>\n\u003cp>Platurn spent his first seven years in the small fishing village of Stykkisólmur. That explains his culture shock when he first landed at JFK International Airport with his family in 1983.\u003c/p>\n\u003cp>“The juxtaposition from where we came from to coming here was massive,” he recalls. “I’d barely seen any movies, didn’t watch TV, anything like that. Everything was just massively new to me. All this culture is just swimming at you.”\u003c/p>\n\u003cp>Though Platurn didn’t have TV in Iceland, music was always important and apparent. There’s perhaps no better way to illustrate that than with his father’s decision to haul his 1000-plus record collection across the Atlantic to their new home in California.\u003c/p>\n\u003cp>“When I was old enough to stand on my feet, I was dancing around to Stevie Wonder’s \u003cem>Songs in the Key of Life \u003c/em>in my living room,” he adds. A recent photo on Instagram shows Platurn, bowl cut and all, sitting on a speaker with headphones on, blues legend Leadbelly spinning on the turntable.\u003c/p>\n\u003cp>https://www.instagram.com/p/BhO0BiVhxgM/\u003c/p>\n\u003cp>Growing up immersed in hip-hop culture, inspired by the likes of Ice Cube, NWA, and the Native Tongues crew, Platurn’s interests eventually led him to DJing. At 18, he purchased his own mixer and turntables through an ad in \u003cem>The Source \u003c/em>magazine with money he saved from his summer job at the YMCA. As he began collecting vinyl more regularly, digging for samples naturally led him to the dirty drums in funk and soul music.\u003c/p>\n\u003cp>Platurn first gained notoriety as a founding member of East Bay DJ crew the Oakland Faders, which also includes Joe Quixx, the former host of \u003cem>The Wake Up Show\u003c/em> on hip-hop station 106.1 KMEL. In 2010, during the rise of digital DJing, Platurn started the 45 Sessions, a recurring night at various Oakland clubs that had only one rule: no matter what the DJs played, it had to be on a seven-inch, 45 RPM record.\u003c/p>\n\u003cp>Now, at 42 years old, Platurn has been behind the decks for 24 years. That means he’s been chipping away at \u003cem>Breaking the Ice\u003c/em> for half of his professional career, a labor of love that started as an extended musical conversation with his older cousin Sveimhugi, a former DJ who resides in Reykjavik. Their shared hobby turned into an obsession, and a funkier side of Iceland’s music scene began to reveal itself.\u003c/p>\n\u003ch3>A Record Collection Tells a Personal Story\u003c/h3>\n\u003cp>Platurn first teased the music in \u003cem>Breaking the Ice\u003c/em> at a record swap in San Jose called Dig Dug, and the records instantly caught the attention of music writer David Ma, now an affiliate of Needle to the Groove Records and the author of the \u003cem>Breaking the Ice\u003c/em> liner notes.\u003c/p>\n\u003cp>“It just kind of blew us away,” Ma recalls of the crowd reaction that night. The two emailed about the possibility of releasing the music, and they even previewed the \u003cem>Breaking the Ice\u003c/em> concept in a three-part series on Ma’s music blog \u003ca href=\"https://nerdtorious.com/2009/12/21/breaking-the-ice/\">Nerdtorious\u003c/a> starting in 2009. Back then, Platurn conceived of the project as a compilation; after encountering multiple roadblocks, they settled on releasing it as a mix to better to showcase Platurn’s DJing abilities and familiarity with his source material.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/378600302″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>When conceptualizing the liner notes, both Ma and Platurn wanted to tie the story back to Platurn’s father. They sat with him one evening to hear him share at length about his time as an influential promoter and DJ. “His dad’s hilarious — very forthcoming and very analytical, so it was easy to extract the importance of Iceland’s musical heyday back then,” says Ma. “I think what we did was just try to understand the shortcomings of Icelandic [music] at the time.”\u003c/p>\n\u003cp>Although \u003cem>Breaking the Ice\u003c/em> has informative, contextualizing liner notes, it does not have a tracklist, and that’s strictly by design. In similar cases, when compilations or mixes of ultra-rare music have gained traction, second-hand record prices have skyrocketed as a result, a phenomenon Platurn says he’d rather not contribute to.\u003c/p>\n\u003cp>Platurn’s protectiveness also stems from the fact that tracklists are often seen as trade secrets in the DJ world. He doesn’t leave the house with any of the records featured on the mix, and for good reason: at one point, he thought he lost several of them forever.\u003c/p>\n\u003cfigure id=\"attachment_13829481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13829481\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">DJ Platurn keeps the crowd engaged at the 45 Sessions Winter Sessions 2017, Nov. 17, 2017 \u003ccite>(Jose Lim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Five years ago, after a gig at 1015 Folsom, around 20 of the records featured on \u003cem>Breaking the Ice\u003c/em> were stolen during a car break-in. Platurn put out a call on social media and even cruised the venue’s neighborhood for weeks after the incident, offering cash to whomever might have a lead. Ten months later, a tip from a friend of a friend led him to a hard rock record shop in the Mission. Thanks to his father’s meticulous cataloging system, Platurn was able to verify that they were indeed his stolen records. Though he was prepared to pay anything, the owner only wanted what he’d paid for the stack: 100 bucks. Platurn gave him 300, thanked him profusely, and parted ways feeling much better about the state of kindness in the world.\u003c/p>\n\u003cp>“The uniqueness of all this is really high, because soul music is not supposed to come from a small island in the North Atlantic,” says Platurn. “None of it is actually 100 percent funk music or hip-hop or anything. It’s just vaguely reminiscent of it, and that’s what makes it so interesting and charming.”\u003c/p>\n\u003cp>Though he made the mix with the idea to showcase a funkier side of Icelandic music, Platurn warns that the collection of songs shouldn’t be considered any sort of definitive cultural statement. “This was my personality at play much more so than me trying to be some thorough archivist for a specific scene back then,” he notes.\u003c/p>\n\u003cp>Asked why he still chooses to collect analog records in an ever-more-digital world, he points to the nostalgia and narrative inevitably tied to one’s record collection. “Every record has a story, and that’s rad,” he says. “Not just a story of the actual release itself, but \u003cem>you\u003c/em> have a story — I have a ton of records I acquired traveling the planet, and that’s dope to me.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>DJ Platurn performs as part of the Souls of Mischief Birthday Bash Friday, April 27, at the Uptown in Oakland. More info \u003ca href=\"http://www.uptownnightclub.com/event/souls-mischief-birthday-bash/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "DJ Platurn, a veteran of the East Bay's hip-hop scene, delves into his Icelandic heritage and family's immigration story with his imaginative, funky new LP.",
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"description": "DJ Platurn, a veteran of the East Bay's hip-hop scene, delves into his Icelandic heritage and family's immigration story with his imaginative, funky new LP.",
"title": "DJ Platurn Reveals Iceland's Groovy Side with 'Breaking the Ice' | KQED",
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"headline": "DJ Platurn Reveals Iceland's Groovy Side with 'Breaking the Ice'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent evening in a warm, wood-paneled auditorium at the Oakland Museum of California, \u003ca href=\"https://djplaturn.com/\" target=\"_blank\" rel=\"noopener\">DJ Platurn\u003c/a> maintains a surprisingly low-key demeanor as he prepares to unveil his new LP, \u003cem>Breaking the Ice.\u003c/em> The collection of rare, Icelandic music took Platurn 12 years to collect and mix; it’s his most ambitious and personal project to date.\u003c/p>\n\u003cp>“There’s gonna be familiar stuff, but just enjoy the fact that you’ve never heard any of this music,” he says, pressing play on the 87-minute-long sonic tapestry he stitched together from roughly 70 songs spanning the mid-’60s through the mid’-80s. In a world that grants near-instant access to the previously unfamiliar, his invitation to simply get lost in the music feels romantically nostalgic.\u003c/p>\n\u003cp>As Platurn notes at the release party, familiar reference points pop up periodically throughout \u003cem>Breaking the Ice,\u003c/em> released last month via San Jose’s \u003ca href=\"https://needletothegroove.net/\" target=\"_blank\" rel=\"noopener\">Needle to the Groove Records\u003c/a>. There’s an Aretha Franklin cover, a “Jingle Bells” rendition that sounds like it was retouched by ’70s-era Herbie Hancock, and a short segment of a cover of the Mamas & the Papas’ “California Dreaming.” During the post-mix Q&A, Platurn reveals that the Icelandic lyrics of the latter re-frame the tune as “Farm Boy’s Dream,” a tale of city kids’ summertime excursions to the countryside, a rite of passage in Iceland.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/378598712″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/378598712″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This reimagining explains \u003cem>Breaking the Ice\u003c/em> quite well — curiously familiar, yet oddly distant. The project can be compared to the immersive yet dissociative pastiche of \u003cem>Since I Left You\u003c/em> by the Avalanches, or perhaps Madlib’s \u003cem>Shades of Blue\u003c/em>, the famed producer’s curated, embellished glance through the Blue Note Records archives. Platurn’s eclectic mix visits psych, soul, hard rock, folk, folk rock, and elements of R&B. Soft melodies crash into heavy drum freakouts. Children’s songs sit in the mix with proto-rap.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With these eclectic pairings, \u003cem>Breaking the Ice\u003c/em> pieces together a groovier side of Iceland, one that often recalls American funk and soul music. It’s a fascinating exploration of the musical history of a formerly-isolated island country best known for rock — or in recent years, the eccentric artistry of Björk and Sigur Rós.\u003c/p>\n\u003cp>The project is also deeply personal for Platurn. “I wanted to do something that meant something for our little family that traveled here 35 years ago and brought all our records with us,” he says.\u003c/p>\n\u003ch3>Unique Upbringing, Boundary-Pushing Musical Taste\u003c/h3>\n\u003cp>A few fans at the listening party comment that Platurn may well be the only person on the planet who could’ve conceived \u003cem>Breaking the Ice.\u003c/em> Indeed, his family’s extensive record collection provided him with the perfect archives to source these rare Icelandic tunes. In the ’70s, a time in Iceland the liner notes describe as “painfully unadventurous,” his father, Magnus Thordarson, was a highly influential promoter and radio DJ that broke new sounds on the airwaves. (The stage name “Platurn” comes from \u003cem>p\u003c/em>\u003cem>lötusnúður\u003c/em>, the Icelandic word for DJ or “plate turner.”)\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/noKkrWo-2WE'\n title='//www.youtube.com/embed/noKkrWo-2WE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Platurn grew up an avid hip-hop fan in the East Bay in the ’90s, and digging for drum breaks to sample inevitably prepared him for the decade-plus saga of “groove excavation” he refers to in the project’s mini-doc. As the mix reveals, his 20-plus years in the game have helped him develop a keen ear for a good groove.\u003c/p>\n\u003cp>Platurn spent his first seven years in the small fishing village of Stykkisólmur. That explains his culture shock when he first landed at JFK International Airport with his family in 1983.\u003c/p>\n\u003cp>“The juxtaposition from where we came from to coming here was massive,” he recalls. “I’d barely seen any movies, didn’t watch TV, anything like that. Everything was just massively new to me. All this culture is just swimming at you.”\u003c/p>\n\u003cp>Though Platurn didn’t have TV in Iceland, music was always important and apparent. There’s perhaps no better way to illustrate that than with his father’s decision to haul his 1000-plus record collection across the Atlantic to their new home in California.\u003c/p>\n\u003cp>“When I was old enough to stand on my feet, I was dancing around to Stevie Wonder’s \u003cem>Songs in the Key of Life \u003c/em>in my living room,” he adds. A recent photo on Instagram shows Platurn, bowl cut and all, sitting on a speaker with headphones on, blues legend Leadbelly spinning on the turntable.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up immersed in hip-hop culture, inspired by the likes of Ice Cube, NWA, and the Native Tongues crew, Platurn’s interests eventually led him to DJing. At 18, he purchased his own mixer and turntables through an ad in \u003cem>The Source \u003c/em>magazine with money he saved from his summer job at the YMCA. As he began collecting vinyl more regularly, digging for samples naturally led him to the dirty drums in funk and soul music.\u003c/p>\n\u003cp>Platurn first gained notoriety as a founding member of East Bay DJ crew the Oakland Faders, which also includes Joe Quixx, the former host of \u003cem>The Wake Up Show\u003c/em> on hip-hop station 106.1 KMEL. In 2010, during the rise of digital DJing, Platurn started the 45 Sessions, a recurring night at various Oakland clubs that had only one rule: no matter what the DJs played, it had to be on a seven-inch, 45 RPM record.\u003c/p>\n\u003cp>Now, at 42 years old, Platurn has been behind the decks for 24 years. That means he’s been chipping away at \u003cem>Breaking the Ice\u003c/em> for half of his professional career, a labor of love that started as an extended musical conversation with his older cousin Sveimhugi, a former DJ who resides in Reykjavik. Their shared hobby turned into an obsession, and a funkier side of Iceland’s music scene began to reveal itself.\u003c/p>\n\u003ch3>A Record Collection Tells a Personal Story\u003c/h3>\n\u003cp>Platurn first teased the music in \u003cem>Breaking the Ice\u003c/em> at a record swap in San Jose called Dig Dug, and the records instantly caught the attention of music writer David Ma, now an affiliate of Needle to the Groove Records and the author of the \u003cem>Breaking the Ice\u003c/em> liner notes.\u003c/p>\n\u003cp>“It just kind of blew us away,” Ma recalls of the crowd reaction that night. The two emailed about the possibility of releasing the music, and they even previewed the \u003cem>Breaking the Ice\u003c/em> concept in a three-part series on Ma’s music blog \u003ca href=\"https://nerdtorious.com/2009/12/21/breaking-the-ice/\">Nerdtorious\u003c/a> starting in 2009. Back then, Platurn conceived of the project as a compilation; after encountering multiple roadblocks, they settled on releasing it as a mix to better to showcase Platurn’s DJing abilities and familiarity with his source material.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/378600302″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/378600302″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>When conceptualizing the liner notes, both Ma and Platurn wanted to tie the story back to Platurn’s father. They sat with him one evening to hear him share at length about his time as an influential promoter and DJ. “His dad’s hilarious — very forthcoming and very analytical, so it was easy to extract the importance of Iceland’s musical heyday back then,” says Ma. “I think what we did was just try to understand the shortcomings of Icelandic [music] at the time.”\u003c/p>\n\u003cp>Although \u003cem>Breaking the Ice\u003c/em> has informative, contextualizing liner notes, it does not have a tracklist, and that’s strictly by design. In similar cases, when compilations or mixes of ultra-rare music have gained traction, second-hand record prices have skyrocketed as a result, a phenomenon Platurn says he’d rather not contribute to.\u003c/p>\n\u003cp>Platurn’s protectiveness also stems from the fact that tracklists are often seen as trade secrets in the DJ world. He doesn’t leave the house with any of the records featured on the mix, and for good reason: at one point, he thought he lost several of them forever.\u003c/p>\n\u003cfigure id=\"attachment_13829481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13829481\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">DJ Platurn keeps the crowd engaged at the 45 Sessions Winter Sessions 2017, Nov. 17, 2017 \u003ccite>(Jose Lim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Five years ago, after a gig at 1015 Folsom, around 20 of the records featured on \u003cem>Breaking the Ice\u003c/em> were stolen during a car break-in. Platurn put out a call on social media and even cruised the venue’s neighborhood for weeks after the incident, offering cash to whomever might have a lead. Ten months later, a tip from a friend of a friend led him to a hard rock record shop in the Mission. Thanks to his father’s meticulous cataloging system, Platurn was able to verify that they were indeed his stolen records. Though he was prepared to pay anything, the owner only wanted what he’d paid for the stack: 100 bucks. Platurn gave him 300, thanked him profusely, and parted ways feeling much better about the state of kindness in the world.\u003c/p>\n\u003cp>“The uniqueness of all this is really high, because soul music is not supposed to come from a small island in the North Atlantic,” says Platurn. “None of it is actually 100 percent funk music or hip-hop or anything. It’s just vaguely reminiscent of it, and that’s what makes it so interesting and charming.”\u003c/p>\n\u003cp>Though he made the mix with the idea to showcase a funkier side of Icelandic music, Platurn warns that the collection of songs shouldn’t be considered any sort of definitive cultural statement. “This was my personality at play much more so than me trying to be some thorough archivist for a specific scene back then,” he notes.\u003c/p>\n\u003cp>Asked why he still chooses to collect analog records in an ever-more-digital world, he points to the nostalgia and narrative inevitably tied to one’s record collection. “Every record has a story, and that’s rad,” he says. “Not just a story of the actual release itself, but \u003cem>you\u003c/em> have a story — I have a ton of records I acquired traveling the planet, and that’s dope to me.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>DJ Platurn performs as part of the Souls of Mischief Birthday Bash Friday, April 27, at the Uptown in Oakland. More info \u003ca href=\"http://www.uptownnightclub.com/event/souls-mischief-birthday-bash/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "With a Little Help From Charlie Parker, Rudresh Mahanthappa Carves a New Path in Jazz",
"headTitle": "With a Little Help From Charlie Parker, Rudresh Mahanthappa Carves a New Path in Jazz | KQED",
"content": "\u003cp>While growing up in Boulder, Colo., Rudresh Mahanthappa received two or three records from his music teacher every week. They were intended for the student to ponder between lessons, and it was thanks to those records that he first internalized prog rock, metal and the many iterations of jazz.\u003c/p>\n\u003cp>But unlike a teenager shopping in the different sections at Tower Records, for example, Mahanthappa didn’t come to the music with labels already affixed to the sounds — all he knew was whether or not the music spoke to him.\u003c/p>\n\u003cp>“I knew what I liked and what I didn’t like,” explains the saxophonist, who kicks off San Jose Jazz’s Fall Concert Series with a performance at \u003ca href=\"https://sanjosejazz.org/artist/rudresh-mahanthappa-bird-calls/\">Cafe Stritch\u003c/a> Oct. 16. \u003cem>“\u003c/em>I really liked Ornette Coleman. I really liked Charlie Parker. I thought they both played saxophone and they both played jazz — eventually. It never occurred to me that one was free jazz and one was bebop until I went to college. I just thought of music as a wider continuum, and that’s something that I always try to think about.”\u003c/p>\n\u003cp>With the help of that wide-open musical spirit, Mahanthappa has since carved out a two-decade long career in jazz. Perhaps nowhere is it more apparent than on \u003cem>Bird Calls\u003c/em>, his widely-acclaimed 2015 release that honors saxophonist Charlie Parker, one of jazz’s all-time greats — and one of Mahanthappa’s early heroes.\u003c/p>\n\u003cp>https://youtu.be/9z50Hn8npEw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the album has been widely noted for its connection to Parker, it’s hardly what one would call a tribute album. Instead of curating a collection of Parker tunes to revisit, Mahanthappa chose instead to snag melodic bits and pieces from Parker songs and integrate them into his own compositions. It’s an approach similar to that of a hip-hop producer, sampling a song segment as a foundation on which to build, although Mahanthappa notes the references sometimes go unnoticed unless pointed out.\u003c/p>\n\u003cp>“I would rather people not be so concerned with the source, but just trust that’s what’s at play,” he says. “For me to do an album of Charlie Parker tunes, that would not be really giving Charlie Parker’s legacy its due, as far as I’m concerned. The best way we pay tribute to anybody is to show what we’ve learned [from them].”\u003c/p>\n\u003cp>That sentiment resonated with San Jose Jazz Executive Director Brendan Rawson, who admits the organization has tried repeatedly and unsuccessfully to bring the busy saxophonist to the South Bay. He was overjoyed when the dates finally lined up, especially in time to kick off a new slate of fall concerts.\u003c/p>\n\u003cp>“It made a lot of sense as a keystone for this series,” notes Rawson, in reference to Mahanthappa’s upcoming set. “I see him as one of those leading-edge jazz artists [who’s] always continuing to push.”\u003c/p>\n\u003cp>Throughout his career, Mahanthappa has chosen to focus on crafting original work rather than integrating standards into his repertoire — though the latter, he says, is something many jazz fans feel is integral to engaging with the tradition. He says the stance has led to some of his work flying under the jazz radar; he still questions whether or not he’s been fully accepted by the jazz community.\u003c/p>\n\u003cp>https://youtu.be/58KepbLWzus\u003c/p>\n\u003cp>He’s also encountered similar issues navigating the jazz world as an Indian American, a path that, when he was studying as a young man, offered no blueprint for success. He recalls his early struggles performing with close friend Vijay Iyer, a pianist and fellow Indian-American who’s received similar accolades for his jazz work in recent years. In early interviews, journalists would often ask the pair if they indeed made music full-time.\u003c/p>\n\u003cp>He’s quick to note, however, that “over the last seven or eight years, we’re more thought of as being part of the larger jazz community.” Most recently, that acceptance has led him to Princeton University, where this fall he began his first term as the school’s Director of Jazz.\u003c/p>\n\u003cp>“I would like to think that we’ve made it a viable option for a lot of people to pursue what had been considered non-traditional career paths for Indian Americans,” he says, “to get outside of being doctors and computer scientists and these things we’re stereotyped as doing.”\u003c/p>\n\u003cp>In addition to Mahanthappa, San Jose Jazz’s Fall Concert series will feature \u003ca href=\"https://sanjosejazz.org/artist/mariachi-flor-de-toloache/\">Mariachi Flor de Toloache\u003c/a>, a New York-based, all-female mariachi group, and Pakistan-born, Los Angeles-raised guitarist \u003ca href=\"https://sanjosejazz.org/artist/rez-abbasi-junction/\">Rez Abbasi\u003c/a>. Asked if presenting such culturally diverse programming was an intentional move to target the diverse demographics of the South Bay, Rawson chalked the pairings to coincidence: “I’m not so sure it’s as much wanting to program to these different communities as it is a reflection of where a lot of exciting music is at.”\u003c/p>\n\u003cp>Referring to Mahanthappa and Abbasi specifically, Rawson notes the two are “American artists who have this connection to the musical heritage of their parents, but they were brought up in the American jazz education realm. They’re approaching their music from that vantage point.”\u003c/p>\n\u003cp>We may still be referring to the work of artists like Mahanthappa and Abbasi with their cultural ancestry as a focal point since such voices are new to the jazz tradition, but as Rawson points out, they’re both children of America. Despite what many assume, Mahanthappa was exposed very little to Indian music growing up. Back then, he was listening to \u003cem>Winelight\u003c/em> by Grover Washington Jr. and \u003cem>Voyeur \u003c/em>by David Sanborn. He still boasts that he knows every Men at Work and Supertramp sax solo.\u003c/p>\n\u003cp>“That ‘hyphen-American’ identity is still pretty young in this country, and jazz being such a viable way to communicate that is very valuable,” concludes Mahanthappa. “Any way that I can help push that along is great.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Rudresh Manthappa performs Sunday, Oct. 16, 2016 at Cafe Stritch in downtown San Jose. Tickets and more info at \u003ca href=\"https://sanjosejazz.org/artist/rudresh-mahanthappa-bird-calls/\">Sanjosejazz.org\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Acceptance in traditional jazz circles hasn't come easy to the Indian-American saxophonist, who kicks off San Jose Jazz’s Fall Concert Series Oct. 16. Good thing he's far more interested in pushing boundaries. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While growing up in Boulder, Colo., Rudresh Mahanthappa received two or three records from his music teacher every week. They were intended for the student to ponder between lessons, and it was thanks to those records that he first internalized prog rock, metal and the many iterations of jazz.\u003c/p>\n\u003cp>But unlike a teenager shopping in the different sections at Tower Records, for example, Mahanthappa didn’t come to the music with labels already affixed to the sounds — all he knew was whether or not the music spoke to him.\u003c/p>\n\u003cp>“I knew what I liked and what I didn’t like,” explains the saxophonist, who kicks off San Jose Jazz’s Fall Concert Series with a performance at \u003ca href=\"https://sanjosejazz.org/artist/rudresh-mahanthappa-bird-calls/\">Cafe Stritch\u003c/a> Oct. 16. \u003cem>“\u003c/em>I really liked Ornette Coleman. I really liked Charlie Parker. I thought they both played saxophone and they both played jazz — eventually. It never occurred to me that one was free jazz and one was bebop until I went to college. I just thought of music as a wider continuum, and that’s something that I always try to think about.”\u003c/p>\n\u003cp>With the help of that wide-open musical spirit, Mahanthappa has since carved out a two-decade long career in jazz. Perhaps nowhere is it more apparent than on \u003cem>Bird Calls\u003c/em>, his widely-acclaimed 2015 release that honors saxophonist Charlie Parker, one of jazz’s all-time greats — and one of Mahanthappa’s early heroes.\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/9z50Hn8npEw'\n title='//www.youtube.com/embed/9z50Hn8npEw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the album has been widely noted for its connection to Parker, it’s hardly what one would call a tribute album. Instead of curating a collection of Parker tunes to revisit, Mahanthappa chose instead to snag melodic bits and pieces from Parker songs and integrate them into his own compositions. It’s an approach similar to that of a hip-hop producer, sampling a song segment as a foundation on which to build, although Mahanthappa notes the references sometimes go unnoticed unless pointed out.\u003c/p>\n\u003cp>“I would rather people not be so concerned with the source, but just trust that’s what’s at play,” he says. “For me to do an album of Charlie Parker tunes, that would not be really giving Charlie Parker’s legacy its due, as far as I’m concerned. The best way we pay tribute to anybody is to show what we’ve learned [from them].”\u003c/p>\n\u003cp>That sentiment resonated with San Jose Jazz Executive Director Brendan Rawson, who admits the organization has tried repeatedly and unsuccessfully to bring the busy saxophonist to the South Bay. He was overjoyed when the dates finally lined up, especially in time to kick off a new slate of fall concerts.\u003c/p>\n\u003cp>“It made a lot of sense as a keystone for this series,” notes Rawson, in reference to Mahanthappa’s upcoming set. “I see him as one of those leading-edge jazz artists [who’s] always continuing to push.”\u003c/p>\n\u003cp>Throughout his career, Mahanthappa has chosen to focus on crafting original work rather than integrating standards into his repertoire — though the latter, he says, is something many jazz fans feel is integral to engaging with the tradition. He says the stance has led to some of his work flying under the jazz radar; he still questions whether or not he’s been fully accepted by the jazz community.\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/58KepbLWzus'\n title='//www.youtube.com/embed/58KepbLWzus'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He’s also encountered similar issues navigating the jazz world as an Indian American, a path that, when he was studying as a young man, offered no blueprint for success. He recalls his early struggles performing with close friend Vijay Iyer, a pianist and fellow Indian-American who’s received similar accolades for his jazz work in recent years. In early interviews, journalists would often ask the pair if they indeed made music full-time.\u003c/p>\n\u003cp>He’s quick to note, however, that “over the last seven or eight years, we’re more thought of as being part of the larger jazz community.” Most recently, that acceptance has led him to Princeton University, where this fall he began his first term as the school’s Director of Jazz.\u003c/p>\n\u003cp>“I would like to think that we’ve made it a viable option for a lot of people to pursue what had been considered non-traditional career paths for Indian Americans,” he says, “to get outside of being doctors and computer scientists and these things we’re stereotyped as doing.”\u003c/p>\n\u003cp>In addition to Mahanthappa, San Jose Jazz’s Fall Concert series will feature \u003ca href=\"https://sanjosejazz.org/artist/mariachi-flor-de-toloache/\">Mariachi Flor de Toloache\u003c/a>, a New York-based, all-female mariachi group, and Pakistan-born, Los Angeles-raised guitarist \u003ca href=\"https://sanjosejazz.org/artist/rez-abbasi-junction/\">Rez Abbasi\u003c/a>. Asked if presenting such culturally diverse programming was an intentional move to target the diverse demographics of the South Bay, Rawson chalked the pairings to coincidence: “I’m not so sure it’s as much wanting to program to these different communities as it is a reflection of where a lot of exciting music is at.”\u003c/p>\n\u003cp>Referring to Mahanthappa and Abbasi specifically, Rawson notes the two are “American artists who have this connection to the musical heritage of their parents, but they were brought up in the American jazz education realm. They’re approaching their music from that vantage point.”\u003c/p>\n\u003cp>We may still be referring to the work of artists like Mahanthappa and Abbasi with their cultural ancestry as a focal point since such voices are new to the jazz tradition, but as Rawson points out, they’re both children of America. Despite what many assume, Mahanthappa was exposed very little to Indian music growing up. Back then, he was listening to \u003cem>Winelight\u003c/em> by Grover Washington Jr. and \u003cem>Voyeur \u003c/em>by David Sanborn. He still boasts that he knows every Men at Work and Supertramp sax solo.\u003c/p>\n\u003cp>“That ‘hyphen-American’ identity is still pretty young in this country, and jazz being such a viable way to communicate that is very valuable,” concludes Mahanthappa. “Any way that I can help push that along is great.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Rudresh Manthappa performs Sunday, Oct. 16, 2016 at Cafe Stritch in downtown San Jose. Tickets and more info at \u003ca href=\"https://sanjosejazz.org/artist/rudresh-mahanthappa-bird-calls/\">Sanjosejazz.org\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "After a Decade, 21-Year-Old Elena Pinderhughes Starts at the Beginning",
"headTitle": "After a Decade, 21-Year-Old Elena Pinderhughes Starts at the Beginning | KQED",
"content": "\u003cp>When you’ve played some of the finest concert halls in America, shared the stage with some of the finest players in your art form, and earned a byline on another artist’s album title all before turning 21 — what’s next?\u003c/p>\n\u003cp>For Elena Pinderhughes, the answer is to start at the beginning, and to synthesize those lessons into a singular, individual sound.\u003c/p>\n\u003cp>Now 21, the flutist and vocalist has spent half her life learning from a host of musical “aunties and uncles,” as well as playing alongside Herbie Hancock, Joshua Redman and Carlos Santana. Her work on trumpeter Christian Scott’s acclaimed album \u003cem>\u003ca href=\"https://itunes.apple.com/us/album/stretch-music-introducing/id1024394279\" target=\"_blank\" rel=\"noopener\">Stretch Music\u003c/a>\u003c/em> was considered worthy of special recognition in the title (“Introducing Elena Pinderhughes” follows in parentheses). She’s also recently recorded with rapper Common and pianist Robert Glasper, contributing to his work on the soundtrack to the Miles Davis biopic \u003cem>Miles Ahead\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12064731\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Elena2.jpg\" alt=\"Elena Pinderhughes.\" width=\"750\" height=\"500\" class=\"size-full wp-image-12064731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Elena2.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Elena2-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Elena Pinderhughes. \u003ccite>(Julie Vastola)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pinderhughes occupies a curious musical predicament — ten years deep as a working musician, yet only starting her recording career as a bandleader. Instead of feeling pressure to deliver an album as soon as possible, she chooses to remain patient, crafting her sound as it slowly reveals itself.\u003c/p>\n\u003cp>“One of my really close mentors told me not to be in a rush, and I think that was a really key thing for me to hear,” Pinderhughes admits by phone. “Oftentimes, we’re in a rush because we think the best time is now. In this industry, and especially as a female sometimes, there’s a draw to go early. But I haven’t had that pressure of feeling like I’m too late.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though the work that will comprise her debut is still largely in its formative stages, audiences at the 59th annual \u003ca href=\"http://www.montereyjazzfestival.org/\">Monterey Jazz Festival\u003c/a> will hear a handful of these new compositions when Pinderhughes performs \u003ca href=\"http://www.montereyjazzfestival.org/artists/elena-pinderhughes\" target=\"_blank\" rel=\"noopener\">Sunday, Sept. 18, on the festival’s Garden Stage\u003c/a>. While she notes Monterey is a “festival that’s heard me play a lot of flute in the past,” this is the first time she’ll lead her own band there. (She also appears on the Arena Stage with Terri Lyne Carrington’s \u003ca href=\"http://www.montereyjazzfestival.org/artists/terri-lyne-carringtons-mosaic-project\" target=\"_blank\" rel=\"noopener\">Mosaic Project\u003c/a> on Sept. 17.)\u003c/p>\n\u003cp>https://youtu.be/1XxA6mT6bu0\u003c/p>\n\u003cp>Pinderhughes, the child of academics, grew up in Berkeley. Like her older brother, pianist Samora Pinderhughes, she discovered a passion for music at a very young age — she remembers being immediately drawn to the flute at a concert when she was four, sharing that “I think [the instrument] really did choose me.”\u003c/p>\n\u003cp>Her parents quickly plugged the two into the Bay Area’s music community, and people like John Santos and Howard Wiley began taking an active interest in refining their daughters’ talent. Elena remembers being picked up from school by mentors and shuttled to shows, where she would sit in to learn the ropes not in a classroom but actively on the bandstand. She also learned alongside musicians her age as part of ensembles and music programs like the Grammy Band, the San Francisco Youth Symphony Orchestra and Young Musicians Choral Orchestra. The latter helped instill in her a persistent yet patient work ethic, she says, that she’s carried ever since.\u003c/p>\n\u003cp>Trumpeter Christian Scott, with whom she’s toured extensively, has proven particularly helpful in pushing Pinderhughes musically. Soon after securing a space in Scott’s ensemble, she discovered a new degree of musical intensity. “Christian steadily taught me to play with a different kind of fire than I had before,” she shares. “I didn’t really know that I possessed that kind of fire with the flute.”\u003c/p>\n\u003cp>But now, as Pinderhughes enters her final year at the Manhattan School of Music, her focus has returned to making her own musical statement. She’s been signed to \u003ca href=\"http://www.srpmusicgroup.com/\">SRP Music Group\u003c/a> (the same outfit responsible for grooming Rihanna) for a little over a year, and has been consistently writing and recording material. She accepts that half of what she’s created so far will likely never see the light of day, but acknowledges that’s simply a part of the creative process.\u003c/p>\n\u003cp>“There’s no way to figure out what your sound is unless you try on different things. It’s been really cool to be able do that in an environment that’s just for me to work on those things,” she says. “My career’s just beginning. I feel like I have so much I want to say, and half of it, I don’t know how to say yet.”\u003c/p>\n\u003cp>https://youtu.be/rVoY1hbnFNg\u003c/p>\n\u003cp>Her vocals are entering the mix more and more, a piece of her musical puzzle she’s excited to share with the Monterey crowd. She’s also finding space to integrate dance, a discipline she practiced through high school, into her performances.\u003c/p>\n\u003cp>She’s reluctant to reveal much about specifics around her new project, but she does share a trio of names — James Blake, Frank Ocean, Drake — that have served as inspirations. They’re not a literal indicator of a change in sound, but rather a reflection of the modern tinge she aims to bring to her debut, even integrating electronic 808 kickdrums to her set.\u003c/p>\n\u003cp>Thanks to her partnership with SRP, she’s in no rush to finalize exactly what encompasses her “sound.” At this point, though, her closest confidantes have offered some pretty specific praise.\u003c/p>\n\u003cp>“This might sound weird, but everybody that I’ve played it for — the closest people to me — they’ve said it sounds like \u003cem>me\u003c/em>,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I can’t wait for people to hear it and see where I’m going,” she adds. “They’ve got a taste of what I do with other people, but I think when they hear my sound, it’s gonna be different. They’ll get to know me a lot better.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you’ve played some of the finest concert halls in America, shared the stage with some of the finest players in your art form, and earned a byline on another artist’s album title all before turning 21 — what’s next?\u003c/p>\n\u003cp>For Elena Pinderhughes, the answer is to start at the beginning, and to synthesize those lessons into a singular, individual sound.\u003c/p>\n\u003cp>Now 21, the flutist and vocalist has spent half her life learning from a host of musical “aunties and uncles,” as well as playing alongside Herbie Hancock, Joshua Redman and Carlos Santana. Her work on trumpeter Christian Scott’s acclaimed album \u003cem>\u003ca href=\"https://itunes.apple.com/us/album/stretch-music-introducing/id1024394279\" target=\"_blank\" rel=\"noopener\">Stretch Music\u003c/a>\u003c/em> was considered worthy of special recognition in the title (“Introducing Elena Pinderhughes” follows in parentheses). She’s also recently recorded with rapper Common and pianist Robert Glasper, contributing to his work on the soundtrack to the Miles Davis biopic \u003cem>Miles Ahead\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12064731\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Elena2.jpg\" alt=\"Elena Pinderhughes.\" width=\"750\" height=\"500\" class=\"size-full wp-image-12064731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Elena2.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Elena2-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Elena Pinderhughes. \u003ccite>(Julie Vastola)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pinderhughes occupies a curious musical predicament — ten years deep as a working musician, yet only starting her recording career as a bandleader. Instead of feeling pressure to deliver an album as soon as possible, she chooses to remain patient, crafting her sound as it slowly reveals itself.\u003c/p>\n\u003cp>“One of my really close mentors told me not to be in a rush, and I think that was a really key thing for me to hear,” Pinderhughes admits by phone. “Oftentimes, we’re in a rush because we think the best time is now. In this industry, and especially as a female sometimes, there’s a draw to go early. But I haven’t had that pressure of feeling like I’m too late.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though the work that will comprise her debut is still largely in its formative stages, audiences at the 59th annual \u003ca href=\"http://www.montereyjazzfestival.org/\">Monterey Jazz Festival\u003c/a> will hear a handful of these new compositions when Pinderhughes performs \u003ca href=\"http://www.montereyjazzfestival.org/artists/elena-pinderhughes\" target=\"_blank\" rel=\"noopener\">Sunday, Sept. 18, on the festival’s Garden Stage\u003c/a>. While she notes Monterey is a “festival that’s heard me play a lot of flute in the past,” this is the first time she’ll lead her own band there. (She also appears on the Arena Stage with Terri Lyne Carrington’s \u003ca href=\"http://www.montereyjazzfestival.org/artists/terri-lyne-carringtons-mosaic-project\" target=\"_blank\" rel=\"noopener\">Mosaic Project\u003c/a> on Sept. 17.)\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/1XxA6mT6bu0'\n title='//www.youtube.com/embed/1XxA6mT6bu0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Pinderhughes, the child of academics, grew up in Berkeley. Like her older brother, pianist Samora Pinderhughes, she discovered a passion for music at a very young age — she remembers being immediately drawn to the flute at a concert when she was four, sharing that “I think [the instrument] really did choose me.”\u003c/p>\n\u003cp>Her parents quickly plugged the two into the Bay Area’s music community, and people like John Santos and Howard Wiley began taking an active interest in refining their daughters’ talent. Elena remembers being picked up from school by mentors and shuttled to shows, where she would sit in to learn the ropes not in a classroom but actively on the bandstand. She also learned alongside musicians her age as part of ensembles and music programs like the Grammy Band, the San Francisco Youth Symphony Orchestra and Young Musicians Choral Orchestra. The latter helped instill in her a persistent yet patient work ethic, she says, that she’s carried ever since.\u003c/p>\n\u003cp>Trumpeter Christian Scott, with whom she’s toured extensively, has proven particularly helpful in pushing Pinderhughes musically. Soon after securing a space in Scott’s ensemble, she discovered a new degree of musical intensity. “Christian steadily taught me to play with a different kind of fire than I had before,” she shares. “I didn’t really know that I possessed that kind of fire with the flute.”\u003c/p>\n\u003cp>But now, as Pinderhughes enters her final year at the Manhattan School of Music, her focus has returned to making her own musical statement. She’s been signed to \u003ca href=\"http://www.srpmusicgroup.com/\">SRP Music Group\u003c/a> (the same outfit responsible for grooming Rihanna) for a little over a year, and has been consistently writing and recording material. She accepts that half of what she’s created so far will likely never see the light of day, but acknowledges that’s simply a part of the creative process.\u003c/p>\n\u003cp>“There’s no way to figure out what your sound is unless you try on different things. It’s been really cool to be able do that in an environment that’s just for me to work on those things,” she says. “My career’s just beginning. I feel like I have so much I want to say, and half of it, I don’t know how to say yet.”\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/rVoY1hbnFNg'\n title='//www.youtube.com/embed/rVoY1hbnFNg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Her vocals are entering the mix more and more, a piece of her musical puzzle she’s excited to share with the Monterey crowd. She’s also finding space to integrate dance, a discipline she practiced through high school, into her performances.\u003c/p>\n\u003cp>She’s reluctant to reveal much about specifics around her new project, but she does share a trio of names — James Blake, Frank Ocean, Drake — that have served as inspirations. They’re not a literal indicator of a change in sound, but rather a reflection of the modern tinge she aims to bring to her debut, even integrating electronic 808 kickdrums to her set.\u003c/p>\n\u003cp>Thanks to her partnership with SRP, she’s in no rush to finalize exactly what encompasses her “sound.” At this point, though, her closest confidantes have offered some pretty specific praise.\u003c/p>\n\u003cp>“This might sound weird, but everybody that I’ve played it for — the closest people to me — they’ve said it sounds like \u003cem>me\u003c/em>,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I can’t wait for people to hear it and see where I’m going,” she adds. “They’ve got a taste of what I do with other people, but I think when they hear my sound, it’s gonna be different. They’ll get to know me a lot better.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Freddie Joachim on Discovering Jazz in Hip-Hop's Back Pages",
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"content": "\u003cp>Though his earnest love of jazz came through reading hip-hop liner notes, DJ and producer Freddie Joachim remembers his first exposure to the art form: Dave Brubeck’s \u003cem>Time In\u003c/em>, an anomaly among his father’s records.\u003c/p>\n\u003cp>“It was probably one of the only jazz records in my dad’s collection,” Joachim recalls. “I listened to that one a lot.”\u003c/p>\n\u003cp>But the record wasn’t \u003cem>really\u003c/em> his introduction to jazz. As is often the case with hip-hop fanatics, Joachim’s fascination with jazz developed as he researched samples used as source material for his favorite beats. After reading those magic words in album credits — “This song contains a sample of…” — hip-hop groups like A Tribe Called Quest and De La Soul led him to names like Bob James, Freddie Hubbard and Ahmad Jamal, each of whom were sought after by producers to help create the joyful, carefree sound that came to define the late ’80s / early ’90s \u003ca href=\"https://en.wikipedia.org/wiki/Native_Tongues\" target=\"_blank\" rel=\"noopener\">Native Tongues\u003c/a> movement.\u003c/p>\n\u003cp>This Saturday, Joachim provides his blissed-out vibes as part of \u003ca href=\"https://summerfest.sanjosejazz.org/\">San Jose Jazz Summer Fest 2016\u003c/a>, set to unfold from Aug. 12–14 across 13 stages throughout downtown San Jose.\u003c/p>\n\u003cp>https://youtu.be/ABjkFnlbY9I\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Joachim closes out the Fest’s “Jazz Beyond” programming, which showcases jazz sounds that come into contact with electronic, hip-hop and world music. This year, performers include José James, Adrian Younge, Masego, and DJ Bobbito Garcia (formerly of the influential New York hip-hop radio show \u003cem>The Stretch Armstrong and Bobbito Show\u003c/em>).\u003c/p>\n\u003cp>After a full day of live music, Joachim’s beats are a natural way to wind down. His tracks tend to be melodic and incredibly evocative, propelled by punchy bass lines and kick drums while lazy keys try their best to maintain an air of cool. The boom-bap is enough to nod your head, but the space that’s present elsewhere offers plenty of room for contemplation. \u003c/p>\n\u003cp>Rather than simply pressing play, Joachim adds a live element to his set by re-creating elements of his beats on stage. By stripping away and highlighting key portions of his compositions, or building beats from scratch, Joachim provides an intimate look at the creation of his music in a format that will be more interactive than a traditional DJ set. (Expect a similar approach from keyboard wizard Mark de Clive-Lowe, who performs alongside his wife, vocalist Nia Andrews, Friday night.)\u003c/p>\n\u003cp>“Even though I wasn’t initially a jazz listener, I think hip-hop broke me into digging deeper into other genres of music, especially past genres, whether it be jazz or soul records,” admits Joachim. Because he didn’t initially encounter jazz in the classroom, his connection to the art form shows the important role hip-hop has played in introducing jazz to younger audiences. As for San Jose Jazz’s choice to book artists who may not seem to be “jazz” at first glance — last year featured a DJ set from A Tribe Called Quest’s Ali Shaheed Muhammad — it shows a willingness to present to its audience the many faces, and entry points, that jazz has provided its listeners over the years.\u003c/p>\n\u003cp>https://youtu.be/ykZHqx84YS0\u003c/p>\n\u003cp>This interplay is evident among other festival performers in the “Jazz Beyond” series. Contemporary crooner José James, who returns to San Jose after a set three years ago, is another hybrid example of jazz musicianship intermingling with more contemporary sounds, rhythms and influences. James’ discography includes three albums on heralded jazz label Blue Note, with his most recent collection a tribute to vocalist Billie Holiday. However, his 2008 debut \u003cem>The Dreamer\u003c/em> included the single “Park Bench People,” a song originally performed by influential L.A. underground rap group Freestyle Fellowship.\u003c/p>\n\u003cp>Growing up in San Diego, Joachim recalls loving gangsta rap with his friends, but found little kinship when his interest grew to names like the Sound Providers, a local group and a key musical influence. (Their song “The Field,” built around a looped sample of “Angel Eyes” from the late jazz guitarist Jim Hall, was what pushed him into producing.) With the advent of the internet, he found more songs like “The Field,” then started creating his own beats. With his beats and mixes now scattered across the world online, Joachim has the same chance to provide that creative spark for others.\u003c/p>\n\u003cp>“There are a handful of kids that I feel like are the same as [I was] as a kid,” he says. “They’re slowly questioning why they listen to certain music, and maybe as they get older, it’ll unfold for them [as well].”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Freddie Joachim performs the night of Saturday, Aug. 13, at Cafe Stritch; his set starts at midnight. \u003ca href=\"https://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Summer Fest 2016\u003c/a> runs Aug. 12–14 at various stages throughout downtown San Jose, and includes performances by the Funky Meters, Bobby Caldwell, Sergio Mendes, Cecile McLorin Salvant, Chico Freeman, Goapele, Melissa Aladana and Tifany Austin, among dozens of others. More details \u003ca href=\"https://summerfest.sanjosejazz.org/\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Joachim closes out the Fest’s “Jazz Beyond” programming, which showcases jazz sounds that come into contact with electronic, hip-hop and world music. This year, performers include José James, Adrian Younge, Masego, and DJ Bobbito Garcia (formerly of the influential New York hip-hop radio show \u003cem>The Stretch Armstrong and Bobbito Show\u003c/em>).\u003c/p>\n\u003cp>After a full day of live music, Joachim’s beats are a natural way to wind down. His tracks tend to be melodic and incredibly evocative, propelled by punchy bass lines and kick drums while lazy keys try their best to maintain an air of cool. The boom-bap is enough to nod your head, but the space that’s present elsewhere offers plenty of room for contemplation. \u003c/p>\n\u003cp>Rather than simply pressing play, Joachim adds a live element to his set by re-creating elements of his beats on stage. By stripping away and highlighting key portions of his compositions, or building beats from scratch, Joachim provides an intimate look at the creation of his music in a format that will be more interactive than a traditional DJ set. (Expect a similar approach from keyboard wizard Mark de Clive-Lowe, who performs alongside his wife, vocalist Nia Andrews, Friday night.)\u003c/p>\n\u003cp>“Even though I wasn’t initially a jazz listener, I think hip-hop broke me into digging deeper into other genres of music, especially past genres, whether it be jazz or soul records,” admits Joachim. Because he didn’t initially encounter jazz in the classroom, his connection to the art form shows the important role hip-hop has played in introducing jazz to younger audiences. As for San Jose Jazz’s choice to book artists who may not seem to be “jazz” at first glance — last year featured a DJ set from A Tribe Called Quest’s Ali Shaheed Muhammad — it shows a willingness to present to its audience the many faces, and entry points, that jazz has provided its listeners over the years.\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/ykZHqx84YS0'\n title='//www.youtube.com/embed/ykZHqx84YS0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This interplay is evident among other festival performers in the “Jazz Beyond” series. Contemporary crooner José James, who returns to San Jose after a set three years ago, is another hybrid example of jazz musicianship intermingling with more contemporary sounds, rhythms and influences. James’ discography includes three albums on heralded jazz label Blue Note, with his most recent collection a tribute to vocalist Billie Holiday. However, his 2008 debut \u003cem>The Dreamer\u003c/em> included the single “Park Bench People,” a song originally performed by influential L.A. underground rap group Freestyle Fellowship.\u003c/p>\n\u003cp>Growing up in San Diego, Joachim recalls loving gangsta rap with his friends, but found little kinship when his interest grew to names like the Sound Providers, a local group and a key musical influence. (Their song “The Field,” built around a looped sample of “Angel Eyes” from the late jazz guitarist Jim Hall, was what pushed him into producing.) With the advent of the internet, he found more songs like “The Field,” then started creating his own beats. With his beats and mixes now scattered across the world online, Joachim has the same chance to provide that creative spark for others.\u003c/p>\n\u003cp>“There are a handful of kids that I feel like are the same as [I was] as a kid,” he says. “They’re slowly questioning why they listen to certain music, and maybe as they get older, it’ll unfold for them [as well].”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Freddie Joachim performs the night of Saturday, Aug. 13, at Cafe Stritch; his set starts at midnight. \u003ca href=\"https://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Summer Fest 2016\u003c/a> runs Aug. 12–14 at various stages throughout downtown San Jose, and includes performances by the Funky Meters, Bobby Caldwell, Sergio Mendes, Cecile McLorin Salvant, Chico Freeman, Goapele, Melissa Aladana and Tifany Austin, among dozens of others. More details \u003ca href=\"https://summerfest.sanjosejazz.org/\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dragon Theatre Provides a Fiery Theatrical Presence on the Peninsula",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">From behind a closed door, Emma introduces her mother Rose to fresh-faced Pastor Hidge, a man committed to connecting with a woman who’s locked herself away from the world for six months in the wake of her husband’s death. Rose, reading in her room, offers only silence — a ploy common for Emma, yet new to Hidge.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Such begins the slow-burn tension that permeates Meghan Kennedy’s debut play at Redwood City’s \u003ca href=\"http://dragonproductions.net/\" target=\"_blank\" rel=\"noopener\">Dragon Theatre\u003c/a>, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Too Much, Too Much, Too Many\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, which offers a nuanced take on the towering effects of grief.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While director Nancy McClymont knew Dragon Theatre’s \u003c/span>\u003cspan style=\"font-weight: 400\">intimate, 65-seat black box space was a great fit for the material, she was worried the heavy subject matter of Kennedy’s drama might not be a huge draw. \u003c/span>\u003c/p>\n\u003cp>\u003cb>“\u003c/b>\u003cspan style=\"font-weight: 400\">I didn’t know if 11 audiences would be interested enough in grief,” McClymont says. Instead, she was surprised to see how well the story connected with patrons. \u003c/span>\u003cb>“\u003c/b>\u003cspan style=\"font-weight: 400\">So many people have reached out to me to tell me their stories – how they were particularly touched by the play and why it mattered to them.”\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Taking risks — in Redwood City\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dragon Theatre prides itself finding receptive audiences for work that frequently involves taking creative chances, like its recent production of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Lo Speziale\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, an obscure Baroque opera by Franz Joseph Haydn that the company set in a squalid meth lab, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Breaking Bad\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">-style.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On May 6, Dragon Theatre continues its season with \u003cem>When the Rain Stops Falling, \u003c/em>a family saga whose timeline stretches from 1959 to 2039. With a story that jumps between past, present and future, the plays explores whether we’re able to deviate from the past, or if we’re doomed to re-live patterns that seem to be embedded in our DNA.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The relatively daring programming choices are no mean feat for an arts organization located in downtown Redwood City — a place that has a small, burgeoning arts scene, but can hardly be considered a cultural metropolis. Yet it’s that healthy appetite for risk, coupled with a constant desire to highlight unsung narratives, that has helped Dragon Theatre to gain traction in the peninsula’s performance landscape. \u003c/span>\u003c/p>\n\u003cp>“Being that type of a company in Redwood City — that alone is pretty unusual,” says Brad Erickson, executive director of the regional performing arts support organization, Theatre Bay Area. “I think they’re having an impact both in the field and the city in a way that’s pretty impressive for a relatively small company.”\u003c/p>\n\u003cfigure id=\"attachment_11511676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11511676 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/KQED-Dragon-2-800x550.jpg\" alt=\"Kelly Battcher (Emma) and W. Scott Whisler (James) in Dragon Theatre’s 2nd Stages production ‘Too Much, Too Much, Too Many.’\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/KQED-Dragon-2-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/KQED-Dragon-2-800x550-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/KQED-Dragon-2-800x550-768x528.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kelly Battcher (Emma) and W. Scott Whisler (James) in Dragon Theatre’s 2nd Stages production ‘Too Much, Too Much, Too Many.’ (Photo: Kimberlee Wittlieb) \u003ccite>(Photo: Kimberlee Wittlieb)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a road-map artistic director Meredith Hagedorn has followed since founding Dragon Theatre 15 years ago. While leading a then-nomadic company that essentially lived out of her car, Hagedorn hoped to build a space for her work in the middle of downtown Palo Alto. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At a Palo Alto Chamber of Commerce mixer, Hagedorn found someone willing to lease her space, which the director transformed into a 2500 square foot, 42-seat theater within walking distance of downtown Palo Alto’s busy University Avenue. “The main reason it was able to happen is because I really didn’t know what I was getting into,” Hagedorn says. “I really didn’t know what it all meant. I just knew that I would need to learn a lot.”\u003c/span>\u003c/p>\n\u003cp>Hagedorn felt her company had maxed out its revenue potential in the tiny University Avenue space. So in 2012, she moved Dragon Theatre to its present location in Redwood City.\u003c/p>\n\u003cp>\u003cstrong>The local theatrical landscape\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The venue is located a block from the historic Fox Theatre, which periodically houses musicals produced by the local musicals producer Broadway by the Bay. Redwood City Community Theatre, another nearby company, is similarly focused on crowd-pleasing fare. \u003c/span>\u003c/p>\n\u003cp>“There has been a plan in the works for a long time to really encourage and support the presence of art and culture downtown,” says Alicia Jeffrey, executive artistic director for Broadway By the Bay. “With the success that we see, and the success and interest that Dragon sees, I think it’s paying off. I think we’re lucky to have each other in that one block.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By contrast, Dragon Theatre consistently tackles edgier material — Hagedorn mentions Shotgun Players in Berkeley and Custom Made Theatre in San Francisco as companies with a similar intention of creating high quality productions whose stories, as she puts it, stay “off the beaten path.”\u003c/span>\u003c/p>\n\u003cp>However, taking creative risks is never stress-free. With an annual operating budget of $350,000, Dragon Theatre is currently producing eight shows per season to maintain its space. The rent rises incrementally each year, but Hagedorn puts up with the elevated price of housing her company in a high-visibility location because she says it enables Dragon Theatre to forge essential community and commercial partnerships in addition to attracting curious passers-by.\u003c/p>\n\u003cp>But making rent is a constant concern. “I think about the bills and overhead every day,” she says. Luckily for Dragon Theatre, Hagedorn’s husband, who’s involved in the tech industry, has helped the company manage shortfalls at times. But Hagedorn says she and the theatre’s board are in the process of pursuing a long-term solution to the company’s current business model.\u003c/p>\n\u003cp>\u003cstrong>Nurturing talent\u003c/strong>\u003c/p>\n\u003cp>Dragon Theatre’s output currently includes both fully professional shows and the “2nd Stages” series, which mentors emerging producers through the process of creating a full production from start to finish. The company offers space, marketing tools, set materials, and seed funding to program participants.\u003c/p>\n\u003cp>“Since I’ve been doing this now for many years, I want to share the love,” Hagedorn says. “That’s how Dragon began. I was looking for opportunities and couldn’t find them. There were stories I wanted to tell, so I knew I had to make them happen for myself.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ci>Dragon Theatre’s next production, “When the Rain Stops Falling” opens Friday, May 6. \u003c/i>\u003ca href=\"http://dragonproductions.net/\">\u003ci>Details here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">From behind a closed door, Emma introduces her mother Rose to fresh-faced Pastor Hidge, a man committed to connecting with a woman who’s locked herself away from the world for six months in the wake of her husband’s death. Rose, reading in her room, offers only silence — a ploy common for Emma, yet new to Hidge.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Such begins the slow-burn tension that permeates Meghan Kennedy’s debut play at Redwood City’s \u003ca href=\"http://dragonproductions.net/\" target=\"_blank\" rel=\"noopener\">Dragon Theatre\u003c/a>, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Too Much, Too Much, Too Many\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, which offers a nuanced take on the towering effects of grief.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While director Nancy McClymont knew Dragon Theatre’s \u003c/span>\u003cspan style=\"font-weight: 400\">intimate, 65-seat black box space was a great fit for the material, she was worried the heavy subject matter of Kennedy’s drama might not be a huge draw. \u003c/span>\u003c/p>\n\u003cp>\u003cb>“\u003c/b>\u003cspan style=\"font-weight: 400\">I didn’t know if 11 audiences would be interested enough in grief,” McClymont says. Instead, she was surprised to see how well the story connected with patrons. \u003c/span>\u003cb>“\u003c/b>\u003cspan style=\"font-weight: 400\">So many people have reached out to me to tell me their stories – how they were particularly touched by the play and why it mattered to them.”\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Taking risks — in Redwood City\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dragon Theatre prides itself finding receptive audiences for work that frequently involves taking creative chances, like its recent production of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Lo Speziale\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, an obscure Baroque opera by Franz Joseph Haydn that the company set in a squalid meth lab, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Breaking Bad\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">-style.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On May 6, Dragon Theatre continues its season with \u003cem>When the Rain Stops Falling, \u003c/em>a family saga whose timeline stretches from 1959 to 2039. With a story that jumps between past, present and future, the plays explores whether we’re able to deviate from the past, or if we’re doomed to re-live patterns that seem to be embedded in our DNA.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The relatively daring programming choices are no mean feat for an arts organization located in downtown Redwood City — a place that has a small, burgeoning arts scene, but can hardly be considered a cultural metropolis. Yet it’s that healthy appetite for risk, coupled with a constant desire to highlight unsung narratives, that has helped Dragon Theatre to gain traction in the peninsula’s performance landscape. \u003c/span>\u003c/p>\n\u003cp>“Being that type of a company in Redwood City — that alone is pretty unusual,” says Brad Erickson, executive director of the regional performing arts support organization, Theatre Bay Area. “I think they’re having an impact both in the field and the city in a way that’s pretty impressive for a relatively small company.”\u003c/p>\n\u003cfigure id=\"attachment_11511676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11511676 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/KQED-Dragon-2-800x550.jpg\" alt=\"Kelly Battcher (Emma) and W. Scott Whisler (James) in Dragon Theatre’s 2nd Stages production ‘Too Much, Too Much, Too Many.’\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/KQED-Dragon-2-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/KQED-Dragon-2-800x550-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/KQED-Dragon-2-800x550-768x528.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kelly Battcher (Emma) and W. Scott Whisler (James) in Dragon Theatre’s 2nd Stages production ‘Too Much, Too Much, Too Many.’ (Photo: Kimberlee Wittlieb) \u003ccite>(Photo: Kimberlee Wittlieb)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a road-map artistic director Meredith Hagedorn has followed since founding Dragon Theatre 15 years ago. While leading a then-nomadic company that essentially lived out of her car, Hagedorn hoped to build a space for her work in the middle of downtown Palo Alto. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At a Palo Alto Chamber of Commerce mixer, Hagedorn found someone willing to lease her space, which the director transformed into a 2500 square foot, 42-seat theater within walking distance of downtown Palo Alto’s busy University Avenue. “The main reason it was able to happen is because I really didn’t know what I was getting into,” Hagedorn says. “I really didn’t know what it all meant. I just knew that I would need to learn a lot.”\u003c/span>\u003c/p>\n\u003cp>Hagedorn felt her company had maxed out its revenue potential in the tiny University Avenue space. So in 2012, she moved Dragon Theatre to its present location in Redwood City.\u003c/p>\n\u003cp>\u003cstrong>The local theatrical landscape\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The venue is located a block from the historic Fox Theatre, which periodically houses musicals produced by the local musicals producer Broadway by the Bay. Redwood City Community Theatre, another nearby company, is similarly focused on crowd-pleasing fare. \u003c/span>\u003c/p>\n\u003cp>“There has been a plan in the works for a long time to really encourage and support the presence of art and culture downtown,” says Alicia Jeffrey, executive artistic director for Broadway By the Bay. “With the success that we see, and the success and interest that Dragon sees, I think it’s paying off. I think we’re lucky to have each other in that one block.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By contrast, Dragon Theatre consistently tackles edgier material — Hagedorn mentions Shotgun Players in Berkeley and Custom Made Theatre in San Francisco as companies with a similar intention of creating high quality productions whose stories, as she puts it, stay “off the beaten path.”\u003c/span>\u003c/p>\n\u003cp>However, taking creative risks is never stress-free. With an annual operating budget of $350,000, Dragon Theatre is currently producing eight shows per season to maintain its space. The rent rises incrementally each year, but Hagedorn puts up with the elevated price of housing her company in a high-visibility location because she says it enables Dragon Theatre to forge essential community and commercial partnerships in addition to attracting curious passers-by.\u003c/p>\n\u003cp>But making rent is a constant concern. “I think about the bills and overhead every day,” she says. Luckily for Dragon Theatre, Hagedorn’s husband, who’s involved in the tech industry, has helped the company manage shortfalls at times. But Hagedorn says she and the theatre’s board are in the process of pursuing a long-term solution to the company’s current business model.\u003c/p>\n\u003cp>\u003cstrong>Nurturing talent\u003c/strong>\u003c/p>\n\u003cp>Dragon Theatre’s output currently includes both fully professional shows and the “2nd Stages” series, which mentors emerging producers through the process of creating a full production from start to finish. The company offers space, marketing tools, set materials, and seed funding to program participants.\u003c/p>\n\u003cp>“Since I’ve been doing this now for many years, I want to share the love,” Hagedorn says. “That’s how Dragon began. I was looking for opportunities and couldn’t find them. There were stories I wanted to tell, so I knew I had to make them happen for myself.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ci>Dragon Theatre’s next production, “When the Rain Stops Falling” opens Friday, May 6. \u003c/i>\u003ca href=\"http://dragonproductions.net/\">\u003ci>Details here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"link": "/californiareportmagazine",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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