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"content": "\u003cp>Never mind Lego Batman. Here’s \u003ca href=\"http://chicanobatman.com\">Chicano Batman\u003c/a>. And instead of capes, these crusaders wear vintage suits and ruffled shirts, looking like a ‘70s wedding band. And like the Dark Knight, this quartet is on a mission for justice.\u003c/p>\n\u003cp>That might not be evident from a first listen and look. On \u003cem>Freedom Is Free, \u003c/em>the third Chicano Batman album since the Los Angeles band started in the late 2000s, they mine the sounds of ‘60s and ‘70s East L.A., the soul and funk of\u003ca href=\"http://tierramusic.com/\"> Tierra\u003c/a> and El Chicano. But just as strong an influence is the quasi-psychedelic swirls of Brazil’s Tropicalia movement of the same era, notably such prime acts as \u003ca href=\"http://www.luakabop.com/os_mutantes/\">Os Mutantes\u003c/a> and Caetano Veloso. One highlight, “Flecha Al Sol,” could pass for vintage Veloso, and singer Bardo Martinez favors his same low-key, conversational alto, often sliding into an effectively stretched, vulnerable falsetto.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11336831\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-800x800.jpg\" alt=\"ChicanoBatmanCover\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>It’s fun stuff, Spanglish nostalgia with some stylish twists. But carried in it are some pointed and poignant messages. If you saw the ad Chicano Batman did recently for a whiskey company, the band doing \u003ca href=\"https://www.youtube.com/watch?v=8Hva8tS5C1U\">a bilingual version of “This Land Is Your Land”\u003c/a> shot around their L.A. neighborhoods, you won’t be so surprised. The grand gesture in that regard here is “The Taker Story,” with a subdued War-like groove underscoring a dark decrying of both geographic and cultural imperialism.\u003c/p>\n\u003cp>But most of the justice being fought for is on a more personal level. “Friendship (Is a Small Boat In a Storm)” calms the waters with an earnest, soulful outreached hand, Martinez’s taking a turn on organ in a little musical dance with co-founder Carlos Arévalo’s understated guitar licks. “Angel Child” is an open-hearted portrait, with shifting time signatures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3k9TVfnHH8Q&feature=youtu.be\u003c/p>\n\u003cp>The funky, bouncy title song, Martinez has explained, takes on the old “freedom isn’t free” catchphrase that’s been used in connection with various U.S. military actions. Here Martinez implores people to get outside of their routines and conventions and be free in their own ways. The song’s opening line, “Nobody likes you, nobody cares,” doesn’t seem liberating, maybe. But as someone else once sang, freedom’s just another word for … well, you know.\u003c/p>\n\u003ch2>Jay Som\u003c/h2>\n\u003cfigure id=\"attachment_11332383\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11332383\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-800x640.jpg\" alt=\"Jay Som, the musical project of Oakland's Melina Duterte, makes its full album debut.\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-520x416.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jay Som, the musical project of Oakland’s Melina Duterte, makes its full album debut.\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a lot of first-person on \u003ca href=\"http://www.jaysommusic.com\">Jay Som\u003c/a>’s debut album, \u003cem>Everybody Works\u003c/em>. Every song, for that matter: I this, I that. The very first word of the first song, “Lipstick Stains,” is “I,” emerging from layers of what sound like harps and zithers in an almost Wagnerian revelry as if it’s the very dawn of creation.\u003c/p>\n\u003cp>The music, too, is first-person. Every note, aside from some background vocals by friends, was sung or played by the artist in her bedroom. It’s kind of ironic, coming from someone who performs under a pseudonym, her real name being Melina Duterte.\u003c/p>\n\u003cp>But it’s not self-absorption. It’s a point of view. And yes, there can be a very fine line between the two, but Duterte/Som finds a perfect, if sometimes teetering, balance between solitude and connection.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-11332384\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-800x800.jpg\" alt=\"RS24388_prc329-qut(1)\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1.jpg 1500w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>That first first-person song, just six short lines — three of them starting with “I,” and the first two repeated in the second three-line stanza — languorously recounts the way a lover’s “lipstick stains the corner of my smile.” It’s at once an entry in a young woman’s diary and vivid, concise poetry. That song has the fewest words, but the album is marked by that economy and directness, at once crisp and wistful, in the moment and yearning for whatever comes next.\u003c/p>\n\u003cp>The music also teeters between the scruffy lo-fi charm you’d expect from bedroom recordings to some surprisingly sophisticated turns. On one end of the scale is “1 Billion Dogs” with its rushed confusion culminating in a squonky electric guitar solo. On the other end is the first single, “Baybee,” also about relational uncertainty but in a smooth-soul setting album reminiscent of Paul Weller’s sheeny Style Council side trips.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cRES6Af_Wyg\u003c/p>\n\u003cp>Where “Lipstick Stains” starts the album with its sensual sense of beginnings, “For Light” closes it with a sense of renewal, Duterte taking a walk to “feel the sun against my skin” as she recharges for new challenges, the song ending in strums on an electric guitar, echoing that opening revelry as a new day, or new phase, dawns.\u003c/p>\n\u003ch2>Grandaddy\u003c/h2>\n\u003cp>In the first place, Modesto’s \u003ca href=\"http://www.grandaddymusic.com\">Grandaddy\u003c/a> seemed poised for big things with its tantalizing mix of glorious pop craft and idiosyncratic take on structures and sonics virtually upon the arrival of its 1997 debut album \u003cem>Under the Western Freeway\u003c/em>.\u003c/p>\n\u003cp>We’re talking \u003ca href=\"http://www.flaminglips.com/?frontpage=true\">Flaming Lips\u003c/a> big things, perhaps even \u003ca href=\"https://www.youtube.com/user/radiohead\">Radiohead \u003c/a>big things. Putting-Modesto-on-the-musical-map big things. Also in the second place, third place and fourth place with its three subsequent albums, each one winningly oddball but resonant.\u003c/p>\n\u003cfigure id=\"attachment_11332391\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11332391 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-800x665.jpg\" alt=\"Modesto band Grandaddy makes a strong return after an 11-year hiatus.\" width=\"800\" height=\"665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-800x665.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-1020x847.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-1180x980.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-960x798.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-240x199.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-375x312.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-520x432.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Modesto band Grandaddy makes a strong return after an 11-year hiatus.\u003c/figcaption>\u003c/figure>\n\u003cp>Obviously, it didn’t quite work out that way, and following 2006’s \u003cem>Just Like the Fambly Cat\u003c/em>, the group split, with members — particularly Jason Lytel and Jim Fairchild — moving on to various other project.\u003c/p>\n\u003cp>Well, after dipping its collective toes back in the waters with reunion shows in 2012, Grandaddy is back with a full new album, \u003cem>Last Place\u003c/em>.\u003c/p>\n\u003cp>If commercial expectations may not be as lofty as they once were, the music still is. “Last Place,” whether the title means being behind the pack or gives a sense of just-one-more-time finality, suffers neither from the resignation or desperation coursing through many belated reunions. Rather, it carries the aura of a band that just had to wait a little until the time was right to renew its collective creativity.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QX34Qhmto0Y\u003c/p>\n\u003cp>And it’s not just a reunion, but also a homecoming, as Lytle made a prodigal return to Modesto after living in Montana and then Portland in recent years. The song “I Don’t Want to Live Here Anymore” was written shortly after his move to Portland, where he also lived through the end of a long-term relationship, echoes of which reverberate throughout the album.\u003c/p>\n\u003cp>Flaming Lips and Radiohead remain apt reference points, the former in a general quizzical sense of the world’s turnings as in the ghostly, wandering wondering of “A Lost Machine,” the latter particularly prominent in the muted melancholy of “This Is the Part.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-11332390\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-800x800.jpg\" alt=\"RS24389_LastPlace_Art-qut\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>On other fronts, the instrumental interlude “Oh She Deleter” reminiscent of Eno’s “Another Green World,” giving way to the “Ram”-era McCartney-ish pop of “The Boat Is In the Barn.”\u003c/p>\n\u003cp>Mostly, though, all of these attributes swirl together in a way that is distinct to Grandaddy, as fresh and assured as in the band’s prime, captured in full in the pulsating pop of “Evermore.” Now, we don’t know with Grandaddy if there will be an ever, or a more. But this and the rest of “Last Place” are welcome reminders of why we loved them in the first place.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2w8gxStEaic\u003c/p>\n\n",
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"excerpt": "February's review of new pop music from the Golden State features new albums from Chicano Batman, Grandaddy and Jay Som.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Never mind Lego Batman. Here’s \u003ca href=\"http://chicanobatman.com\">Chicano Batman\u003c/a>. And instead of capes, these crusaders wear vintage suits and ruffled shirts, looking like a ‘70s wedding band. And like the Dark Knight, this quartet is on a mission for justice.\u003c/p>\n\u003cp>That might not be evident from a first listen and look. On \u003cem>Freedom Is Free, \u003c/em>the third Chicano Batman album since the Los Angeles band started in the late 2000s, they mine the sounds of ‘60s and ‘70s East L.A., the soul and funk of\u003ca href=\"http://tierramusic.com/\"> Tierra\u003c/a> and El Chicano. But just as strong an influence is the quasi-psychedelic swirls of Brazil’s Tropicalia movement of the same era, notably such prime acts as \u003ca href=\"http://www.luakabop.com/os_mutantes/\">Os Mutantes\u003c/a> and Caetano Veloso. One highlight, “Flecha Al Sol,” could pass for vintage Veloso, and singer Bardo Martinez favors his same low-key, conversational alto, often sliding into an effectively stretched, vulnerable falsetto.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11336831\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-800x800.jpg\" alt=\"ChicanoBatmanCover\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>It’s fun stuff, Spanglish nostalgia with some stylish twists. But carried in it are some pointed and poignant messages. If you saw the ad Chicano Batman did recently for a whiskey company, the band doing \u003ca href=\"https://www.youtube.com/watch?v=8Hva8tS5C1U\">a bilingual version of “This Land Is Your Land”\u003c/a> shot around their L.A. neighborhoods, you won’t be so surprised. The grand gesture in that regard here is “The Taker Story,” with a subdued War-like groove underscoring a dark decrying of both geographic and cultural imperialism.\u003c/p>\n\u003cp>But most of the justice being fought for is on a more personal level. “Friendship (Is a Small Boat In a Storm)” calms the waters with an earnest, soulful outreached hand, Martinez’s taking a turn on organ in a little musical dance with co-founder Carlos Arévalo’s understated guitar licks. “Angel Child” is an open-hearted portrait, with shifting time signatures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3k9TVfnHH8Q'\n title='//www.youtube.com/embed/3k9TVfnHH8Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The funky, bouncy title song, Martinez has explained, takes on the old “freedom isn’t free” catchphrase that’s been used in connection with various U.S. military actions. Here Martinez implores people to get outside of their routines and conventions and be free in their own ways. The song’s opening line, “Nobody likes you, nobody cares,” doesn’t seem liberating, maybe. But as someone else once sang, freedom’s just another word for … well, you know.\u003c/p>\n\u003ch2>Jay Som\u003c/h2>\n\u003cfigure id=\"attachment_11332383\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11332383\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-800x640.jpg\" alt=\"Jay Som, the musical project of Oakland's Melina Duterte, makes its full album debut.\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-520x416.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jay Som, the musical project of Oakland’s Melina Duterte, makes its full album debut.\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a lot of first-person on \u003ca href=\"http://www.jaysommusic.com\">Jay Som\u003c/a>’s debut album, \u003cem>Everybody Works\u003c/em>. Every song, for that matter: I this, I that. The very first word of the first song, “Lipstick Stains,” is “I,” emerging from layers of what sound like harps and zithers in an almost Wagnerian revelry as if it’s the very dawn of creation.\u003c/p>\n\u003cp>The music, too, is first-person. Every note, aside from some background vocals by friends, was sung or played by the artist in her bedroom. It’s kind of ironic, coming from someone who performs under a pseudonym, her real name being Melina Duterte.\u003c/p>\n\u003cp>But it’s not self-absorption. It’s a point of view. And yes, there can be a very fine line between the two, but Duterte/Som finds a perfect, if sometimes teetering, balance between solitude and connection.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-11332384\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-800x800.jpg\" alt=\"RS24388_prc329-qut(1)\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1.jpg 1500w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>That first first-person song, just six short lines — three of them starting with “I,” and the first two repeated in the second three-line stanza — languorously recounts the way a lover’s “lipstick stains the corner of my smile.” It’s at once an entry in a young woman’s diary and vivid, concise poetry. That song has the fewest words, but the album is marked by that economy and directness, at once crisp and wistful, in the moment and yearning for whatever comes next.\u003c/p>\n\u003cp>The music also teeters between the scruffy lo-fi charm you’d expect from bedroom recordings to some surprisingly sophisticated turns. On one end of the scale is “1 Billion Dogs” with its rushed confusion culminating in a squonky electric guitar solo. On the other end is the first single, “Baybee,” also about relational uncertainty but in a smooth-soul setting album reminiscent of Paul Weller’s sheeny Style Council side trips.\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/cRES6Af_Wyg'\n title='//www.youtube.com/embed/cRES6Af_Wyg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Where “Lipstick Stains” starts the album with its sensual sense of beginnings, “For Light” closes it with a sense of renewal, Duterte taking a walk to “feel the sun against my skin” as she recharges for new challenges, the song ending in strums on an electric guitar, echoing that opening revelry as a new day, or new phase, dawns.\u003c/p>\n\u003ch2>Grandaddy\u003c/h2>\n\u003cp>In the first place, Modesto’s \u003ca href=\"http://www.grandaddymusic.com\">Grandaddy\u003c/a> seemed poised for big things with its tantalizing mix of glorious pop craft and idiosyncratic take on structures and sonics virtually upon the arrival of its 1997 debut album \u003cem>Under the Western Freeway\u003c/em>.\u003c/p>\n\u003cp>We’re talking \u003ca href=\"http://www.flaminglips.com/?frontpage=true\">Flaming Lips\u003c/a> big things, perhaps even \u003ca href=\"https://www.youtube.com/user/radiohead\">Radiohead \u003c/a>big things. Putting-Modesto-on-the-musical-map big things. Also in the second place, third place and fourth place with its three subsequent albums, each one winningly oddball but resonant.\u003c/p>\n\u003cfigure id=\"attachment_11332391\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11332391 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-800x665.jpg\" alt=\"Modesto band Grandaddy makes a strong return after an 11-year hiatus.\" width=\"800\" height=\"665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-800x665.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-1020x847.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-1180x980.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-960x798.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-240x199.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-375x312.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-520x432.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Modesto band Grandaddy makes a strong return after an 11-year hiatus.\u003c/figcaption>\u003c/figure>\n\u003cp>Obviously, it didn’t quite work out that way, and following 2006’s \u003cem>Just Like the Fambly Cat\u003c/em>, the group split, with members — particularly Jason Lytel and Jim Fairchild — moving on to various other project.\u003c/p>\n\u003cp>Well, after dipping its collective toes back in the waters with reunion shows in 2012, Grandaddy is back with a full new album, \u003cem>Last Place\u003c/em>.\u003c/p>\n\u003cp>If commercial expectations may not be as lofty as they once were, the music still is. “Last Place,” whether the title means being behind the pack or gives a sense of just-one-more-time finality, suffers neither from the resignation or desperation coursing through many belated reunions. Rather, it carries the aura of a band that just had to wait a little until the time was right to renew its collective creativity.\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/QX34Qhmto0Y'\n title='//www.youtube.com/embed/QX34Qhmto0Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And it’s not just a reunion, but also a homecoming, as Lytle made a prodigal return to Modesto after living in Montana and then Portland in recent years. The song “I Don’t Want to Live Here Anymore” was written shortly after his move to Portland, where he also lived through the end of a long-term relationship, echoes of which reverberate throughout the album.\u003c/p>\n\u003cp>Flaming Lips and Radiohead remain apt reference points, the former in a general quizzical sense of the world’s turnings as in the ghostly, wandering wondering of “A Lost Machine,” the latter particularly prominent in the muted melancholy of “This Is the Part.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-11332390\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-800x800.jpg\" alt=\"RS24389_LastPlace_Art-qut\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>On other fronts, the instrumental interlude “Oh She Deleter” reminiscent of Eno’s “Another Green World,” giving way to the “Ram”-era McCartney-ish pop of “The Boat Is In the Barn.”\u003c/p>\n\u003cp>Mostly, though, all of these attributes swirl together in a way that is distinct to Grandaddy, as fresh and assured as in the band’s prime, captured in full in the pulsating pop of “Evermore.” Now, we don’t know with Grandaddy if there will be an ever, or a more. But this and the rest of “Last Place” are welcome reminders of why we loved them in the first place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Remembering the 'Sweet Soul' of Al Jarreau",
"title": "Remembering the 'Sweet Soul' of Al Jarreau",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Success didn’t come early or easily for \u003ca href=\"http://aljarreau.com/\">Al Jarreau\u003c/a>, but when the vocalist finally broke through in the mid 1970s, he changed the musical landscape. \u003c/p>\n\u003cp>A brilliantly inventive scat singer, Jarreau excelled at just about every musical style he touched. The only singer to win Grammy Awards in the Jazz, R&B and Pop categories, he died on Sunday, Feb. 12 in Los Angeles at the age of 76 just days after his manager announced that the singer was retiring from decades of international touring.\u003c/p>\n\u003cp>In many ways Jarreau’s passing marks the end of an era, in that he might be the last of his kind: A jazz-steeped African-American male singer who broke through as a pop star. \u003ca href=\"http://bobbymcferrin.com/\">Bobby McFerrin\u003c/a> followed in his Bay Area footsteps, expanding on Jarreau’s instrumental palette as a scat singer, but after McFerrin scored a Top 40 hit he began turning his attention to the classical world. Jarreau thrived over decades of changing musical tastes, influencing countless singers and instrumentalists. His imprint is evident on pianist \u003ca href=\"http://www.robertglasper.com/\">Robert Glasper\u003c/a>, a gifted jazz musician who’s also found a broader audience via R&B.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/otVH5cv9z1A?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The son of a vicar turned welder, Jarreau didn’t start on a path likely to produce a musical pioneer. He grew up in a working-class family in Milwaukee where it was drilled into him that he was going to get a college education. After earning a master's degree in psychology, he moved to San Francisco in the late 1960s and began doing social work, but he also found time to indulge his love of music, hooking up with an ambitious young pianist named \u003ca href=\"http://georgeduke.com/\">George Duke\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"I was doing rehabilitation counseling during the day and singing nights with George,” Jarreau told me in a 2006 interview. “We were swinging. This was the day of Janis Joplin and the Grateful Dead coming on the scene, and there George and I were, holding forth in this little jazz club, packing them in on weekends, and kind of swimming up-stream.\"\u003c/p>\n\u003cp>When he decided to pursue music full-time, Jarreau moved down to Los Angeles and spent the first half of the '70s on the road. But instead of using the standard piano, bass and drums rhythm section preferred by most jazz singers, Jarreau kept expenses low and musical options high by performing accompanied only by an electric guitarist. \u003c/p>\n\u003cp>The duo format gave him the space to develop his trademark scatting technique, as he laid down his own bass lines while imitating various horns. He was singing mostly the same American Songbook standards, jazz tunes and bossa nova hits as other vocalists, but his versions transformed the songs into extended scat excursions.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/hhq7fSrXn0c?start=137&feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“I suddenly found all this space to go like this,” he said, launching into a walking bass line with a percussive beat. “Just after the George Duke period I found all of the stuff that’s my thumbprint these days.”\u003c/p>\n\u003cp>Jarreau was well into his 30s when he finally broke through in 1975 with \u003cem>We Got By,\u003c/em> an album that won widespread critical praise. In jazz terms, he set an unsurpassed benchmark with his 1977 live double album, \u003cem>Look to the Rainbow\u003c/em>, though he probably reached his commercial zenith with his hit theme song to the popular TV show “Moonlighting.” In the '90s, his music seemed tailored for the adult contemporary radio format, but he continued to expand his sound.\u003c/p>\n\u003cp>He earned his seventh Grammy Award (under the best traditional R&B vocal category) for his collaboration with guitarist George Benson and vocalist Jill Scott on Billie Holiday’s “God Bless the Child.\" His last album was 2014’s homage to his lifelong buddy, \u003cem>My Old Friend: Celebrating George Duke\u003c/em>, a project featuring guest artists like Lalah Hathaway, Marcus Miller, Dianne Reeves and Dr. John. Right up until the end, he never tried to limit himself.\u003c/p>\n\u003cp>“I heard that music from Haight Ashbury,” Jarreau said. “I was listening to Laura Nyro and Joni Mitchell and Bob Dylan. There are lots of different people inside me, including Sly Stone and James Brown. That’s why my music sounds like a lot of different things at different times.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He was the smooth R&B crooner celebrating new love, the agile scat trickster navigating a steeplechase bebop line, and a vocal horn player evoking a muted trumpet. What united all of Al Jarreau’s different sounds was the sweet soul underneath.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Success didn’t come early or easily for \u003ca href=\"http://aljarreau.com/\">Al Jarreau\u003c/a>, but when the vocalist finally broke through in the mid 1970s, he changed the musical landscape. \u003c/p>\n\u003cp>A brilliantly inventive scat singer, Jarreau excelled at just about every musical style he touched. The only singer to win Grammy Awards in the Jazz, R&B and Pop categories, he died on Sunday, Feb. 12 in Los Angeles at the age of 76 just days after his manager announced that the singer was retiring from decades of international touring.\u003c/p>\n\u003cp>In many ways Jarreau’s passing marks the end of an era, in that he might be the last of his kind: A jazz-steeped African-American male singer who broke through as a pop star. \u003ca href=\"http://bobbymcferrin.com/\">Bobby McFerrin\u003c/a> followed in his Bay Area footsteps, expanding on Jarreau’s instrumental palette as a scat singer, but after McFerrin scored a Top 40 hit he began turning his attention to the classical world. Jarreau thrived over decades of changing musical tastes, influencing countless singers and instrumentalists. His imprint is evident on pianist \u003ca href=\"http://www.robertglasper.com/\">Robert Glasper\u003c/a>, a gifted jazz musician who’s also found a broader audience via R&B.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/otVH5cv9z1A?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The son of a vicar turned welder, Jarreau didn’t start on a path likely to produce a musical pioneer. He grew up in a working-class family in Milwaukee where it was drilled into him that he was going to get a college education. After earning a master's degree in psychology, he moved to San Francisco in the late 1960s and began doing social work, but he also found time to indulge his love of music, hooking up with an ambitious young pianist named \u003ca href=\"http://georgeduke.com/\">George Duke\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"I was doing rehabilitation counseling during the day and singing nights with George,” Jarreau told me in a 2006 interview. “We were swinging. This was the day of Janis Joplin and the Grateful Dead coming on the scene, and there George and I were, holding forth in this little jazz club, packing them in on weekends, and kind of swimming up-stream.\"\u003c/p>\n\u003cp>When he decided to pursue music full-time, Jarreau moved down to Los Angeles and spent the first half of the '70s on the road. But instead of using the standard piano, bass and drums rhythm section preferred by most jazz singers, Jarreau kept expenses low and musical options high by performing accompanied only by an electric guitarist. \u003c/p>\n\u003cp>The duo format gave him the space to develop his trademark scatting technique, as he laid down his own bass lines while imitating various horns. He was singing mostly the same American Songbook standards, jazz tunes and bossa nova hits as other vocalists, but his versions transformed the songs into extended scat excursions.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/hhq7fSrXn0c?start=137&feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“I suddenly found all this space to go like this,” he said, launching into a walking bass line with a percussive beat. “Just after the George Duke period I found all of the stuff that’s my thumbprint these days.”\u003c/p>\n\u003cp>Jarreau was well into his 30s when he finally broke through in 1975 with \u003cem>We Got By,\u003c/em> an album that won widespread critical praise. In jazz terms, he set an unsurpassed benchmark with his 1977 live double album, \u003cem>Look to the Rainbow\u003c/em>, though he probably reached his commercial zenith with his hit theme song to the popular TV show “Moonlighting.” In the '90s, his music seemed tailored for the adult contemporary radio format, but he continued to expand his sound.\u003c/p>\n\u003cp>He earned his seventh Grammy Award (under the best traditional R&B vocal category) for his collaboration with guitarist George Benson and vocalist Jill Scott on Billie Holiday’s “God Bless the Child.\" His last album was 2014’s homage to his lifelong buddy, \u003cem>My Old Friend: Celebrating George Duke\u003c/em>, a project featuring guest artists like Lalah Hathaway, Marcus Miller, Dianne Reeves and Dr. John. Right up until the end, he never tried to limit himself.\u003c/p>\n\u003cp>“I heard that music from Haight Ashbury,” Jarreau said. “I was listening to Laura Nyro and Joni Mitchell and Bob Dylan. There are lots of different people inside me, including Sly Stone and James Brown. That’s why my music sounds like a lot of different things at different times.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He was the smooth R&B crooner celebrating new love, the agile scat trickster navigating a steeplechase bebop line, and a vocal horn player evoking a muted trumpet. What united all of Al Jarreau’s different sounds was the sweet soul underneath.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Three Bay Area high school bands are headed to New York this weekend for the highly competitive \u003ca href=\"http://mingusmingusmingus.com/jazz-education\" target=\"_blank\" rel=\"noopener\">Charles Mingus High School Competition\u003c/a>, named for the celebrated jazz bassist and composer.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.bhsjazz.org/\" target=\"_blank\" rel=\"noopener\">Berkeley High School Jazz Combo\u003c/a>, Sacramento’s \u003ca href=\"http://rioband.net/\" target=\"_blank\" rel=\"noopener\">Rio Americano High School Jazz Combo\u003c/a>, and the \u003ca href=\"https://sfjazz.org/education/hsas\" target=\"_blank\" rel=\"noopener\">SFJAZZ High School All-Stars Big Band and Combo\u003c/a> are competing against nine other groups from around the country.\u003c/p>\n\u003cfigure id=\"attachment_12780937\" class=\"wp-caption alignright\" style=\"max-width: 569px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12780937\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900.jpg\" alt=\"Baritone sax player Glynnis McNamara of the SFJAZZ HS All Stars\" width=\"569\" height=\"618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900.jpg 569w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900-160x174.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900-240x261.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900-375x407.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900-520x565.jpg 520w\" sizes=\"(max-width: 569px) 100vw, 569px\">\u003cfigcaption class=\"wp-caption-text\">Baritone sax player Glynnis McNamara of the SFJAZZ HS All Stars \u003ccite>(Photo: Courtesy of SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Anytime you go to New York is exciting,” said Erin Putnam, the ensemble manager for the SFJAZZ Big Band and Combo. “But the Mingus competition is different from some other festivals, where you get points for how perfect you are. At Mingus, you get points for how big you go.”\u003c/p>\n\u003cp>Mingus was known for his genius as a bandleader, and for often losing his temper. He died in 1979 at the age of 56, but his widow Sue Mingus has carried on his work through a nonprofit, which sponsors the high school competition.\u003c/p>\n\u003cp>“I just really connect with Mingus,” said Glynnis McNamara, a 17-year-old baritone saxophone player and senior at Middle College, a high school program at the College of San Mateo. “Because it captures the moment of spontaneity — of being in the moment of something passionate.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All the bands will play Mingus songs, and the best of the soloists will get a chance to sit in with the Mingus Big Band at a New York jazz club Sunday night.\u003c/p>\n\u003cp>https://youtu.be/QT2-iobVcdw?t=20s\u003c/p>\n\u003cp>“The music is uncompromising and not meant to be commercial in any way,” said Sarah Cline, who directs the jazz program at Berkeley High School. “Charles Mingus’s work is especially important today, because it is in its essence protest music. His tunes like ‘Fables of Faubus,’ about the ridiculousness of the racism of Arkansas Governor Orval Faubus in opposition to school desegregation by the Little Rock 9, teach us what it means to resist, to protest, and to speak truth through art.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three Bay Area high school bands are headed to New York this weekend for the highly competitive \u003ca href=\"http://mingusmingusmingus.com/jazz-education\" target=\"_blank\" rel=\"noopener\">Charles Mingus High School Competition\u003c/a>, named for the celebrated jazz bassist and composer.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.bhsjazz.org/\" target=\"_blank\" rel=\"noopener\">Berkeley High School Jazz Combo\u003c/a>, Sacramento’s \u003ca href=\"http://rioband.net/\" target=\"_blank\" rel=\"noopener\">Rio Americano High School Jazz Combo\u003c/a>, and the \u003ca href=\"https://sfjazz.org/education/hsas\" target=\"_blank\" rel=\"noopener\">SFJAZZ High School All-Stars Big Band and Combo\u003c/a> are competing against nine other groups from around the country.\u003c/p>\n\u003cfigure id=\"attachment_12780937\" class=\"wp-caption alignright\" style=\"max-width: 569px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12780937\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900.jpg\" alt=\"Baritone sax player Glynnis McNamara of the SFJAZZ HS All Stars\" width=\"569\" height=\"618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900.jpg 569w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900-160x174.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900-240x261.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900-375x407.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Glynnis-McNamara-of-the-SFJAZZ-HS-All-Stars-1-e1487363800900-520x565.jpg 520w\" sizes=\"(max-width: 569px) 100vw, 569px\">\u003cfigcaption class=\"wp-caption-text\">Baritone sax player Glynnis McNamara of the SFJAZZ HS All Stars \u003ccite>(Photo: Courtesy of SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Anytime you go to New York is exciting,” said Erin Putnam, the ensemble manager for the SFJAZZ Big Band and Combo. “But the Mingus competition is different from some other festivals, where you get points for how perfect you are. At Mingus, you get points for how big you go.”\u003c/p>\n\u003cp>Mingus was known for his genius as a bandleader, and for often losing his temper. He died in 1979 at the age of 56, but his widow Sue Mingus has carried on his work through a nonprofit, which sponsors the high school competition.\u003c/p>\n\u003cp>“I just really connect with Mingus,” said Glynnis McNamara, a 17-year-old baritone saxophone player and senior at Middle College, a high school program at the College of San Mateo. “Because it captures the moment of spontaneity — of being in the moment of something passionate.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All the bands will play Mingus songs, and the best of the soloists will get a chance to sit in with the Mingus Big Band at a New York jazz club Sunday night.\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/QT2-iobVcdw'\n title='//www.youtube.com/embed/QT2-iobVcdw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The music is uncompromising and not meant to be commercial in any way,” said Sarah Cline, who directs the jazz program at Berkeley High School. “Charles Mingus’s work is especially important today, because it is in its essence protest music. His tunes like ‘Fables of Faubus,’ about the ridiculousness of the racism of Arkansas Governor Orval Faubus in opposition to school desegregation by the Little Rock 9, teach us what it means to resist, to protest, and to speak truth through art.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What Big Tech's Quarterly Reports Say About the Future of Music",
"headTitle": "What Big Tech’s Quarterly Reports Say About the Future of Music | KQED",
"content": "\u003cp>Our relationships with and access to music lie between rocks and hard places; the rocks that own it, the hard places that distribute it to us. Those relationships are constantly evolving, and to figure out what might come next, we’ve combed through the recent earnings statements of some of the largest record labels and tech companies to reveal how they’re preparing for 2017 and beyond.\u003c/p>\n\u003cp>Musicians and labels have had to adjust to a world where they hold less control, because of the ways we listen now. Where once music distribution centered mostly around record stores, or radio disc jockeys — with whom musicians and labels typically had more symbiotic relationships — they’re now forced to work with companies like Apple, Facebook and Google — for whom music is a cherry, not the sundae — and streaming companies like Spotify, who now hold sway over huge portions of their bank statements.\u003c/p>\n\u003cp>\u003cem>\u003c/em>These tech companies will also control distribution channels that have yet to manifest — like virtual and augmented reality technologies, as well as “high resolution” music, which was mentioned on Warner Music’s earnings call Wednesday and which another major label source told NPR last week is a major priority in this year, and years, to come. (These companies are barred from collusion, but often reach the same conclusions at similar times.) Where tech has the platform, labels — for better and worse — have the content tech needs to make those platforms rich, emotionally and otherwise.\u003c/p>\n\u003cp>Consolidation is expected this year in the streaming industry, as presaged by Sprint’s \u003ca href=\"https://www.nytimes.com/2017/01/23/business/media/tidal-streaming-music-jayz-sprint.html\" target=\"_blank\" rel=\"noopener\">recent purchase\u003c/a> of a third of Tidal, the streaming service that Jay Z purchased in 2015 for $56 million. Pandora also has been tipped as an acquisition target by SiriusXM, though Pandora seems keen to see how its forthcoming Spotify competitor, \u003ca href=\"http://www.billboard.com/articles/news/7604144/pandora-premium-reveal-spotify-competitor-streaming\" target=\"_blank\" rel=\"noopener\">Pandora Premium\u003c/a>, fares before any organizational capitulation.\u003c/p>\n\u003cp>Record companies want as many outlets (think Spotify, or the app \u003ca href=\"https://itunes.apple.com/us/app/musical.ly-your-video-social/id835599320?mt=8\" target=\"_blank\" rel=\"noopener\">Music.ally\u003c/a>) as possible using their music, in part to avoid the market domination that Apple had with the iTunes Store starting in 2004, and in part to keep pricing for their music catalogs competitive. However, tech companies have their own leverage, in the form of billions of “captive” users. The hands wash each other and the tendrils of industry are labyrinthine. (This very long, very dense piece \u003ca href=\"http://www.yalelawjournal.org/article/amazons-antitrust-paradox\" target=\"_blank\" rel=\"noopener\">on antitrust and Amazon\u003c/a> from \u003cem>The Yale Law Journal\u003c/em> is a fascinating breakdown not just of Amazon, but of the many problems facing tech’s primacy, regulation and the laws around it.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the past week, the companies below have either shared their most recent financial statements (except for Snap Inc., which filed a comprehensive internal breakdown ahead of its $18 billion IPO). These statements (along with tech’s activity over the past year and conversations we’ve had with them) give us a look at the proverbial tea leaves and where we fall between the hard place and the rock.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>SPOTIFY\u003c/strong>\u003c/h5>\n\u003cfigure id=\"attachment_12744698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-800x600.jpg\" alt=\"Facebook founder and CEO Mark Zuckerberg looks on a Peruvian President Pedro Pablo Kuczynski demos a virtual reality headse\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12744698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Facebook founder and CEO Mark Zuckerberg looks on a Peruvian President Pedro Pablo Kuczynski demos a virtual reality headse \u003ccite>(Photo: Pablo Parciuncula/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The financials of the world’s most-used streaming service are a notoriously elusive commodity — the company files in the spring, in Luxembourg, in French, and makes it a point not to announce them — but two things over the past day alone and one as-yet-unannounced move indicate where the company’s head is at. Last things first, its partnership with AccuWeather, which \u003ca href=\"http://www.accuweather.com/en/weather-news/accuweather-spotify-launch-climatune-to-produce-playlists-customized-to-weather/70000786\" target=\"_blank\" rel=\"noopener\">yielded a study on how weather affects listening patterns\u003c/a>. Next, two as-yet-unannounced podcasts exclusive to the service, one on music supervision (the work of selecting and licensing songs for television and movies) and the other about hip-hop record executive Chris Lighty. Finally, and most importantly, the \u003ca href=\"http://www.niemanlab.org/2017/02/with-its-new-spotify-bundle-the-new-york-times-is-chasing-a-new-younger-base-of-subscribers/\" target=\"_blank\" rel=\"noopener\">deal it announced Wednesday with the \u003cem>New York Times\u003c/em>\u003c/a>, where new digital subscribers will receive a year of Spotify Premium for free\u003cem>\u003c/em>. Taken together, along with past initiatives like its \u003ca href=\"http://www.tiestoblog.com/spotify-album-burn-by-tiesto/\" target=\"_blank\" rel=\"noopener\">“elastic” running songs\u003c/a>, show the market leader intends to keep pushing the envelope with data — but not with exclusive music content, as founder Daniel Ek has made clear. (Just podcasts, apparently.)\u003cstrong> \u003c/strong>\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>APPLE\u003c/strong>\u003c/h5>\n\u003cp>Last year, Apple Music banked heavily on releases exclusive to it, including Frank Ocean’s highly anticipated \u003cem>Blonde\u003c/em>. However, likely due to an \u003ca href=\"https://www.nytimes.com/2016/08/26/business/media/frank-oceans-blonde-amplifies-discord-in-the-music-business.html\" target=\"_blank\" rel=\"noopener\">inspired bit of contractual gymnastics\u003c/a> on Ocean’s part, exclusives were subsequently \u003ca href=\"https://www.theguardian.com/business/2016/aug/23/universal-streaming-exclusives-frank-ocean-release\" target=\"_blank\" rel=\"noopener\">banned\u003c/a> by Universal Music CEO Lucian Grainge. Despite that, Apple executives \u003ca href=\"http://www.billboard.com/articles/business/7604098/apple-music-20-million-subscribers-eddy-cue-zane-lowe-interview\" target=\"_blank\" rel=\"noopener\">described\u003c/a> platform-specific exclusives like \u003cem>Blonde \u003c/em>as working “really well for everybody concerned — they’re great for the label, they work for the artist and for us.” To that end, it announced that Apple would be the home for \u003cem>Carpool Karaoke\u003c/em>, a massively successful segment that started on \u003cem>The Late Late Show With James Corden\u003c/em>. (Adele’s \u003ca href=\"https://www.youtube.com/watch?v=Nck6BZga7TQ\">turn\u003c/a> has been viewed 145 million times as of this writing.) This will also, serendipitously, benefit Apple TV.\u003c/p>\n\u003cp>Apple’s streaming service, Apple Music, has emerged as Spotify’s primary competitor, but from the outside is financially inextricable from other business segments of the Cupertino tech giant; Apple Music’s reports are bundled with other “services,” like its consumer insurance product AppleCare and Apple Pay. Regardless, it is a success, at least culturally. Apple Music now claims to have \u003ca href=\"http://www.billboard.com/articles/business/7604098/apple-music-20-million-subscribers-eddy-cue-zane-lowe-interview\" target=\"_blank\" rel=\"noopener\">20 million subscribers\u003c/a> since launching in June 2015. Its “services” arm \u003ca href=\"http://www.apple.com/newsroom/2017/01/apple-reports-record-first-quarter-results.html\" target=\"_blank\" rel=\"noopener\">was up\u003c/a> 22 percent between 2015 and 2016, from $19.9 billion to $24.34 billion.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>FACEBOOK\u003c/strong>\u003c/h5>\n\u003cp>As anyone who has seen the traffic report from any digital publisher of articles knows, Facebook’s dominance of media distribution on the web is near total. As such, even small moves make big waves. And, while “music” wasn’t mentioned once in last week’s \u003ca href=\"https://investor.fb.com/investor-events/event-details/2017/Facebook-Q4-2016-Earnings/default.aspx\" target=\"_blank\" rel=\"noopener\">earnings call\u003c/a>, the hiring of Tamara Hrivnak \u003ca href=\"http://www.npr.org/sections/therecord/2017/01/30/512445669/with-new-hire-facebook-looks-to-strengthen-its-relationship-to-music\" target=\"_blank\" rel=\"noopener\">last week\u003c/a> to lead, as she posted on Faceook, “global music strategy and business development,” is a crystal clear indication that it will no longer sit on the sidelines when it comes to music. As \u003ca href=\"http://www.recode.net/2017/1/17/14269406/facebook-live-video-deals-paid\" target=\"_blank\" rel=\"noopener\">\u003cem>Recode\u003c/em> reported\u003c/a>, Facebook plans to focus more on “high-quality” video. It wouldn’t be shocking to see the company partner with video companies (like the music-focused Vevo, for instance) and music rights holders to host longer-form series, like Apple is doing with \u003cem>Carpool Karaoke\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>GOOGLE\u003c/strong>\u003c/h5>\n\u003cp>YouTube is the world’s largest streaming service, by consumption, but remains the black sheep among those services for what the recording business says are lower-than-fair values for their work on it. A source with knowledge of the negotiations described them as routine, despite unrelenting attacks on it last year from various industry stakeholders over a perceived “value gap” between what YouTube pays for music streams versus what music services like Spotify (sometimes referred to as “pure-play” services) return to the recording industry. As a source pointed out to NPR last week, that value gap has been increasing as more people consume more music on the site. YouTube \u003ca href=\"http://www.billboard.com/articles/business/7525695/lyor-cohen-named-youtube-global-head-of-music\" target=\"_blank\" rel=\"noopener\">brought on\u003c/a> veteran label executive Lyor Cohen in early December as its global Head of Music.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>AMAZON\u003c/strong>\u003c/h5>\n\u003cfigure id=\"attachment_12744699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-800x600.jpg\" alt=\"Shaquille O'Neal laughs as he tries a pair of Snapchat Spectacles during CES on January 5, 2017 in Las Vegas, Nv.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12744699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shaquille O’Neal laughs as he tries a pair of Snapchat Spectacles during CES on January 5, 2017 in Las Vegas, Nv. \u003ccite>(Photo: Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the success of Echo and the ease of use between it and the company’s own streaming service, Music Unlimited, as well as Amazon’s variegated entertainment investments, Jeff Bezos’ e-commerce giant will continue to aggressively expand.\u003c/p>\n\u003cp>The company launched Amazon Music Unlimited last October, a “full catalog” service aimed at music fans less casual than those wooed by Amazon Prime Music — Prime has a catalog of two million songs, whereas Unlimited includes “tens of millions.”\u003c/p>\n\u003cp>“Prime members engaged with the Prime digital benefits at a voracious rate, more than doubling the number of video, music, and reading activities compared to 2015,” Amazon writes in its \u003ca href=\"http://phx.corporate-ir.net/phoenix.zhtml?c=97664&p=irol-reportsother\" target=\"_blank\" rel=\"noopener\">fourth-quarter earnings\u003c/a>, released Feb. 2. The company has had an impressive year with its cultural work, winning two Golden Globes and drawing seven Academy Awards nominations, including a Best Picture nod for \u003cem>Manchester By The Sea\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>WARNER MUSIC GROUP\u003c/strong>\u003c/h5>\n\u003cp>In its earnings call on Feb. 7 Warner Music — which is owned by Len Blavatnik’s \u003ca href=\"http://www.accessindustries.com/about/\" target=\"_blank\" rel=\"noopener\">Access Industries\u003c/a> — says it made $1 billion from streaming in 2016 (\u003ca href=\"http://www.billboard.com/articles/business/7603792/youtube-1-billion-paid-recording-industry-advertising-2016\" target=\"_blank\" rel=\"noopener\">as much\u003c/a> as YouTube paid the industry worldwide that year), and pointed to new music from Bruno Mars and Ed Sheeran as key to its revenues in the coming year. It also cited, as mentioned above, virtual and augmented reality and high-resolution music as promising new sources of revenue over the coming year and beyond.\u003c/p>\n\u003cp>Warner Music reports it made 8.1 percent more from records than it did over the same period in 2015, with $917 million in total revenue, $311 million of which came from streaming services.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>SONY CORP.\u003c/strong>\u003c/h5>\n\u003cp>Sony Corp., which owns both major label Sony Music (home of Adele and Beyoncé, among many many others) and Sony/ATV, the world’s largest music publishing company (responsible for administering and exploiting compositions, which are legally separate from the sound recordings that record labels, like Sony Music, sell) reported sales down slightly in its third quarter, to $1.49 billion. That the company is about to get a new CEO — Rob Stringer, who is moving up from the reins of Columbia — after many years of being run by a legacy executive will no doubt bring fundamental change to the company. Sony Music’s recorded music revenue dropped 12.8 percent between 2015 and 2016, to $990 million. Of that, $364 million was generated by streaming services. Sony’s music operations were helped this past quarter not by music sales but rather thanks to a video game, \u003cem>Fate/Grand Order\u003c/em>. (That the company folded animation and mobile video games into music is a little strange, and seems to do little more than obfuscate the health of its music operations.)\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>SNAP INC.\u003c/strong>\u003c/h5>\n\u003cp>While the relationship between an amorphous social platform like Snapchat and music may seem tangential, a tech company worth tens of billions and that holds the attention of 150 million young eyes daily, and with a nascent hardware business to boot, will inevitably interact with music, as any youth-oriented concern must. (In fact, founder Evan Spiegel, as the hack of Sony Corp. revealed, had \u003ca href=\"http://www.billboard.com/articles/business/6406613/sony-leaks-snapchat-record-label-vevo\" target=\"_blank\" rel=\"noopener\">expressed interest\u003c/a> in starting his own record label.)\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.sec.gov/Archives/edgar/data/1564408/000119312517029199/d270216ds1.htm\" target=\"_blank\" rel=\"noopener\">118,000-word filing\u003c/a> with the Securities and Exchange Commission, Snap Inc., the recently formed parent company of social media platform Snapchat, explained itself — even its famously inscrutable app — ahead of an initial public offering. Notably, it writes that “Snap Inc. is a camera company,” and defines Snapchat itself as a “camera application.” (The only camera it has released for sale are a pair of well-reviewed “Spectacles,” released surreptitiously in vending machines in Los Angeles and New York.) It is, of course, more than that.\u003c/p>\n\u003cp>Cost of revenue, which includes licensing deals for content from publishers like BuzzFeed as well as failed content partnerships like the one \u003ca href=\"http://www.billboard.com/articles/business/6642187/snapchat-discover-warner-music-yahoo-iheartradio-buzzfeed\" target=\"_blank\" rel=\"noopener\">it cancelled\u003c/a> with Warner Music Group, was about $451 million in 2016. The company as a whole posted a net loss last year of $514 million. Spiegel stands to make $3.7 billion from his 227 million shares once the company goes public — plenty of money to play with.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>(And, not for nothing, the former CEO of Sony Entertainment, parent of Sony Music, is \u003ca href=\"https://www.nytimes.com/2017/01/13/business/media/sony-michael-lynton-to-step-down.html\" target=\"_blank\" rel=\"noopener\">now the chairman\u003c/a> of Snap Inc.’s board.) \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Big+Tech%27s+Quarterly+Reports+Say+About+The+Future+Of+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Our relationships with and access to music lie between rocks and hard places; the rocks that own it, the hard places that distribute it to us. Those relationships are constantly evolving, and to figure out what might come next, we’ve combed through the recent earnings statements of some of the largest record labels and tech companies to reveal how they’re preparing for 2017 and beyond.\u003c/p>\n\u003cp>Musicians and labels have had to adjust to a world where they hold less control, because of the ways we listen now. Where once music distribution centered mostly around record stores, or radio disc jockeys — with whom musicians and labels typically had more symbiotic relationships — they’re now forced to work with companies like Apple, Facebook and Google — for whom music is a cherry, not the sundae — and streaming companies like Spotify, who now hold sway over huge portions of their bank statements.\u003c/p>\n\u003cp>\u003cem>\u003c/em>These tech companies will also control distribution channels that have yet to manifest — like virtual and augmented reality technologies, as well as “high resolution” music, which was mentioned on Warner Music’s earnings call Wednesday and which another major label source told NPR last week is a major priority in this year, and years, to come. (These companies are barred from collusion, but often reach the same conclusions at similar times.) Where tech has the platform, labels — for better and worse — have the content tech needs to make those platforms rich, emotionally and otherwise.\u003c/p>\n\u003cp>Consolidation is expected this year in the streaming industry, as presaged by Sprint’s \u003ca href=\"https://www.nytimes.com/2017/01/23/business/media/tidal-streaming-music-jayz-sprint.html\" target=\"_blank\" rel=\"noopener\">recent purchase\u003c/a> of a third of Tidal, the streaming service that Jay Z purchased in 2015 for $56 million. Pandora also has been tipped as an acquisition target by SiriusXM, though Pandora seems keen to see how its forthcoming Spotify competitor, \u003ca href=\"http://www.billboard.com/articles/news/7604144/pandora-premium-reveal-spotify-competitor-streaming\" target=\"_blank\" rel=\"noopener\">Pandora Premium\u003c/a>, fares before any organizational capitulation.\u003c/p>\n\u003cp>Record companies want as many outlets (think Spotify, or the app \u003ca href=\"https://itunes.apple.com/us/app/musical.ly-your-video-social/id835599320?mt=8\" target=\"_blank\" rel=\"noopener\">Music.ally\u003c/a>) as possible using their music, in part to avoid the market domination that Apple had with the iTunes Store starting in 2004, and in part to keep pricing for their music catalogs competitive. However, tech companies have their own leverage, in the form of billions of “captive” users. The hands wash each other and the tendrils of industry are labyrinthine. (This very long, very dense piece \u003ca href=\"http://www.yalelawjournal.org/article/amazons-antitrust-paradox\" target=\"_blank\" rel=\"noopener\">on antitrust and Amazon\u003c/a> from \u003cem>The Yale Law Journal\u003c/em> is a fascinating breakdown not just of Amazon, but of the many problems facing tech’s primacy, regulation and the laws around it.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over the past week, the companies below have either shared their most recent financial statements (except for Snap Inc., which filed a comprehensive internal breakdown ahead of its $18 billion IPO). These statements (along with tech’s activity over the past year and conversations we’ve had with them) give us a look at the proverbial tea leaves and where we fall between the hard place and the rock.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>SPOTIFY\u003c/strong>\u003c/h5>\n\u003cfigure id=\"attachment_12744698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-800x600.jpg\" alt=\"Facebook founder and CEO Mark Zuckerberg looks on a Peruvian President Pedro Pablo Kuczynski demos a virtual reality headse\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12744698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Facebook founder and CEO Mark Zuckerberg looks on a Peruvian President Pedro Pablo Kuczynski demos a virtual reality headse \u003ccite>(Photo: Pablo Parciuncula/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The financials of the world’s most-used streaming service are a notoriously elusive commodity — the company files in the spring, in Luxembourg, in French, and makes it a point not to announce them — but two things over the past day alone and one as-yet-unannounced move indicate where the company’s head is at. Last things first, its partnership with AccuWeather, which \u003ca href=\"http://www.accuweather.com/en/weather-news/accuweather-spotify-launch-climatune-to-produce-playlists-customized-to-weather/70000786\" target=\"_blank\" rel=\"noopener\">yielded a study on how weather affects listening patterns\u003c/a>. Next, two as-yet-unannounced podcasts exclusive to the service, one on music supervision (the work of selecting and licensing songs for television and movies) and the other about hip-hop record executive Chris Lighty. Finally, and most importantly, the \u003ca href=\"http://www.niemanlab.org/2017/02/with-its-new-spotify-bundle-the-new-york-times-is-chasing-a-new-younger-base-of-subscribers/\" target=\"_blank\" rel=\"noopener\">deal it announced Wednesday with the \u003cem>New York Times\u003c/em>\u003c/a>, where new digital subscribers will receive a year of Spotify Premium for free\u003cem>\u003c/em>. Taken together, along with past initiatives like its \u003ca href=\"http://www.tiestoblog.com/spotify-album-burn-by-tiesto/\" target=\"_blank\" rel=\"noopener\">“elastic” running songs\u003c/a>, show the market leader intends to keep pushing the envelope with data — but not with exclusive music content, as founder Daniel Ek has made clear. (Just podcasts, apparently.)\u003cstrong> \u003c/strong>\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>APPLE\u003c/strong>\u003c/h5>\n\u003cp>Last year, Apple Music banked heavily on releases exclusive to it, including Frank Ocean’s highly anticipated \u003cem>Blonde\u003c/em>. However, likely due to an \u003ca href=\"https://www.nytimes.com/2016/08/26/business/media/frank-oceans-blonde-amplifies-discord-in-the-music-business.html\" target=\"_blank\" rel=\"noopener\">inspired bit of contractual gymnastics\u003c/a> on Ocean’s part, exclusives were subsequently \u003ca href=\"https://www.theguardian.com/business/2016/aug/23/universal-streaming-exclusives-frank-ocean-release\" target=\"_blank\" rel=\"noopener\">banned\u003c/a> by Universal Music CEO Lucian Grainge. Despite that, Apple executives \u003ca href=\"http://www.billboard.com/articles/business/7604098/apple-music-20-million-subscribers-eddy-cue-zane-lowe-interview\" target=\"_blank\" rel=\"noopener\">described\u003c/a> platform-specific exclusives like \u003cem>Blonde \u003c/em>as working “really well for everybody concerned — they’re great for the label, they work for the artist and for us.” To that end, it announced that Apple would be the home for \u003cem>Carpool Karaoke\u003c/em>, a massively successful segment that started on \u003cem>The Late Late Show With James Corden\u003c/em>. (Adele’s \u003ca href=\"https://www.youtube.com/watch?v=Nck6BZga7TQ\">turn\u003c/a> has been viewed 145 million times as of this writing.) This will also, serendipitously, benefit Apple TV.\u003c/p>\n\u003cp>Apple’s streaming service, Apple Music, has emerged as Spotify’s primary competitor, but from the outside is financially inextricable from other business segments of the Cupertino tech giant; Apple Music’s reports are bundled with other “services,” like its consumer insurance product AppleCare and Apple Pay. Regardless, it is a success, at least culturally. Apple Music now claims to have \u003ca href=\"http://www.billboard.com/articles/business/7604098/apple-music-20-million-subscribers-eddy-cue-zane-lowe-interview\" target=\"_blank\" rel=\"noopener\">20 million subscribers\u003c/a> since launching in June 2015. Its “services” arm \u003ca href=\"http://www.apple.com/newsroom/2017/01/apple-reports-record-first-quarter-results.html\" target=\"_blank\" rel=\"noopener\">was up\u003c/a> 22 percent between 2015 and 2016, from $19.9 billion to $24.34 billion.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>FACEBOOK\u003c/strong>\u003c/h5>\n\u003cp>As anyone who has seen the traffic report from any digital publisher of articles knows, Facebook’s dominance of media distribution on the web is near total. As such, even small moves make big waves. And, while “music” wasn’t mentioned once in last week’s \u003ca href=\"https://investor.fb.com/investor-events/event-details/2017/Facebook-Q4-2016-Earnings/default.aspx\" target=\"_blank\" rel=\"noopener\">earnings call\u003c/a>, the hiring of Tamara Hrivnak \u003ca href=\"http://www.npr.org/sections/therecord/2017/01/30/512445669/with-new-hire-facebook-looks-to-strengthen-its-relationship-to-music\" target=\"_blank\" rel=\"noopener\">last week\u003c/a> to lead, as she posted on Faceook, “global music strategy and business development,” is a crystal clear indication that it will no longer sit on the sidelines when it comes to music. As \u003ca href=\"http://www.recode.net/2017/1/17/14269406/facebook-live-video-deals-paid\" target=\"_blank\" rel=\"noopener\">\u003cem>Recode\u003c/em> reported\u003c/a>, Facebook plans to focus more on “high-quality” video. It wouldn’t be shocking to see the company partner with video companies (like the music-focused Vevo, for instance) and music rights holders to host longer-form series, like Apple is doing with \u003cem>Carpool Karaoke\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>GOOGLE\u003c/strong>\u003c/h5>\n\u003cp>YouTube is the world’s largest streaming service, by consumption, but remains the black sheep among those services for what the recording business says are lower-than-fair values for their work on it. A source with knowledge of the negotiations described them as routine, despite unrelenting attacks on it last year from various industry stakeholders over a perceived “value gap” between what YouTube pays for music streams versus what music services like Spotify (sometimes referred to as “pure-play” services) return to the recording industry. As a source pointed out to NPR last week, that value gap has been increasing as more people consume more music on the site. YouTube \u003ca href=\"http://www.billboard.com/articles/business/7525695/lyor-cohen-named-youtube-global-head-of-music\" target=\"_blank\" rel=\"noopener\">brought on\u003c/a> veteran label executive Lyor Cohen in early December as its global Head of Music.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>AMAZON\u003c/strong>\u003c/h5>\n\u003cfigure id=\"attachment_12744699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-800x600.jpg\" alt=\"Shaquille O'Neal laughs as he tries a pair of Snapchat Spectacles during CES on January 5, 2017 in Las Vegas, Nv.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12744699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shaquille O’Neal laughs as he tries a pair of Snapchat Spectacles during CES on January 5, 2017 in Las Vegas, Nv. \u003ccite>(Photo: Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the success of Echo and the ease of use between it and the company’s own streaming service, Music Unlimited, as well as Amazon’s variegated entertainment investments, Jeff Bezos’ e-commerce giant will continue to aggressively expand.\u003c/p>\n\u003cp>The company launched Amazon Music Unlimited last October, a “full catalog” service aimed at music fans less casual than those wooed by Amazon Prime Music — Prime has a catalog of two million songs, whereas Unlimited includes “tens of millions.”\u003c/p>\n\u003cp>“Prime members engaged with the Prime digital benefits at a voracious rate, more than doubling the number of video, music, and reading activities compared to 2015,” Amazon writes in its \u003ca href=\"http://phx.corporate-ir.net/phoenix.zhtml?c=97664&p=irol-reportsother\" target=\"_blank\" rel=\"noopener\">fourth-quarter earnings\u003c/a>, released Feb. 2. The company has had an impressive year with its cultural work, winning two Golden Globes and drawing seven Academy Awards nominations, including a Best Picture nod for \u003cem>Manchester By The Sea\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>WARNER MUSIC GROUP\u003c/strong>\u003c/h5>\n\u003cp>In its earnings call on Feb. 7 Warner Music — which is owned by Len Blavatnik’s \u003ca href=\"http://www.accessindustries.com/about/\" target=\"_blank\" rel=\"noopener\">Access Industries\u003c/a> — says it made $1 billion from streaming in 2016 (\u003ca href=\"http://www.billboard.com/articles/business/7603792/youtube-1-billion-paid-recording-industry-advertising-2016\" target=\"_blank\" rel=\"noopener\">as much\u003c/a> as YouTube paid the industry worldwide that year), and pointed to new music from Bruno Mars and Ed Sheeran as key to its revenues in the coming year. It also cited, as mentioned above, virtual and augmented reality and high-resolution music as promising new sources of revenue over the coming year and beyond.\u003c/p>\n\u003cp>Warner Music reports it made 8.1 percent more from records than it did over the same period in 2015, with $917 million in total revenue, $311 million of which came from streaming services.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>SONY CORP.\u003c/strong>\u003c/h5>\n\u003cp>Sony Corp., which owns both major label Sony Music (home of Adele and Beyoncé, among many many others) and Sony/ATV, the world’s largest music publishing company (responsible for administering and exploiting compositions, which are legally separate from the sound recordings that record labels, like Sony Music, sell) reported sales down slightly in its third quarter, to $1.49 billion. That the company is about to get a new CEO — Rob Stringer, who is moving up from the reins of Columbia — after many years of being run by a legacy executive will no doubt bring fundamental change to the company. Sony Music’s recorded music revenue dropped 12.8 percent between 2015 and 2016, to $990 million. Of that, $364 million was generated by streaming services. Sony’s music operations were helped this past quarter not by music sales but rather thanks to a video game, \u003cem>Fate/Grand Order\u003c/em>. (That the company folded animation and mobile video games into music is a little strange, and seems to do little more than obfuscate the health of its music operations.)\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>SNAP INC.\u003c/strong>\u003c/h5>\n\u003cp>While the relationship between an amorphous social platform like Snapchat and music may seem tangential, a tech company worth tens of billions and that holds the attention of 150 million young eyes daily, and with a nascent hardware business to boot, will inevitably interact with music, as any youth-oriented concern must. (In fact, founder Evan Spiegel, as the hack of Sony Corp. revealed, had \u003ca href=\"http://www.billboard.com/articles/business/6406613/sony-leaks-snapchat-record-label-vevo\" target=\"_blank\" rel=\"noopener\">expressed interest\u003c/a> in starting his own record label.)\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.sec.gov/Archives/edgar/data/1564408/000119312517029199/d270216ds1.htm\" target=\"_blank\" rel=\"noopener\">118,000-word filing\u003c/a> with the Securities and Exchange Commission, Snap Inc., the recently formed parent company of social media platform Snapchat, explained itself — even its famously inscrutable app — ahead of an initial public offering. Notably, it writes that “Snap Inc. is a camera company,” and defines Snapchat itself as a “camera application.” (The only camera it has released for sale are a pair of well-reviewed “Spectacles,” released surreptitiously in vending machines in Los Angeles and New York.) It is, of course, more than that.\u003c/p>\n\u003cp>Cost of revenue, which includes licensing deals for content from publishers like BuzzFeed as well as failed content partnerships like the one \u003ca href=\"http://www.billboard.com/articles/business/6642187/snapchat-discover-warner-music-yahoo-iheartradio-buzzfeed\" target=\"_blank\" rel=\"noopener\">it cancelled\u003c/a> with Warner Music Group, was about $451 million in 2016. The company as a whole posted a net loss last year of $514 million. Spiegel stands to make $3.7 billion from his 227 million shares once the company goes public — plenty of money to play with.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(And, not for nothing, the former CEO of Sony Entertainment, parent of Sony Music, is \u003ca href=\"https://www.nytimes.com/2017/01/13/business/media/sony-michael-lynton-to-step-down.html\" target=\"_blank\" rel=\"noopener\">now the chairman\u003c/a> of Snap Inc.’s board.) \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Big+Tech%27s+Quarterly+Reports+Say+About+The+Future+Of+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "San Diego High Schoolers Bring California Sounds to Washington",
"title": "San Diego High Schoolers Bring California Sounds to Washington",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003cem>A group of high school musicians, singers and dancers from San Diego are performing at a special inauguration luncheon put on by the \u003ca href=\"http://www.californiastatesociety.com/\">California State Society\u003c/a> this week. It’s a nonpartisan event to highlight California culture and celebrate its role on the national stage. We dropped in at a jazz band rehearsal with kids from the San Diego School of Creative and Performing Arts (SCPA), who are playing two Duke Ellington songs: “I Didn’t Know about You” and “Play the Blues and Go.\"\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/302609776\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>\u003cstrong>Emma Christie Foster, vocals\u003c/strong>:\u003cbr>\nWe're going there and we're trying to convey a message of love, and compassion and kindness for everyone. We’re not going in anger. We just want to bring music and dance and happiness to the table at a time when things like that are kind of iffy.\u003c/p>\n\u003cp>\u003cstrong>Johncarlo Grady, drums\u003c/strong>:\u003cbr>\nWe're just trying to show how unique and diverse California is, and say we are still here.\u003c/p>\n\u003cfigure id=\"attachment_11274163\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11274163\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/JCGrady-800x548.jpg\" alt=\"Johncarlo Grady plays drums in the SCPA jazz band.\" width=\"800\" height=\"548\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-800x548.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-160x110.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-1020x699.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-1180x808.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-960x658.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-240x164.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-375x257.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-520x356.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johncarlo Grady plays drums in the SCPA jazz band. \u003ccite>(Erin Siegal McIntyre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Alvin Paige, saxophone\u003c/strong>:\u003cbr>\nDue to the controversy surrounding the president-elect, we want to show how California does it culturally. And show that we’re still here, we’re strong, and support all the people that need support at this time, all the different communities. It’s a difficult time for a lot of people, so we’re there to help and support.\u003c/p>\n\u003cfigure id=\"attachment_11274228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11274228\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/AlvinSax-800x1019.jpg\" alt=\"Alvin Paige plays saxophone in the SCPA jazz band.\" width=\"800\" height=\"1019\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-800x1019.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-160x204.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-1020x1299.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-1180x1503.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-960x1223.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-240x306.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-375x478.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-520x662.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alvin Paige plays saxophone in the SCPA jazz band. \u003ccite>(Erin Siegal McIntyre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tate McKay, guitar \u003c/strong>:\u003cbr>\nWe're representing that California's still here, that we still have a voice.\u003c/p>\n\u003cfigure id=\"attachment_11274231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11274231\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/TateGuitar-800x555.jpg\" alt=\"Tate McKay, guitarist in the SCPA jazz band. \" width=\"800\" height=\"555\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-800x555.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-160x111.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-1020x708.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-1180x819.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-960x666.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-240x167.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-375x260.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-520x361.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tate McKay, guitarist in the SCPA jazz band. \u003ccite>(Erin Siegal McIntyre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Ashley Del Castillo, bass\u003c/strong>:\u003cbr>\nI just want to go and prove to D.C. and everyone else there from California that SCPA can swing, and we can still preserve through at time of conflict.\u003c/p>\n\u003cfigure id=\"attachment_11274233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11274233\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/AshleyBass-800x620.jpg\" alt=\"Ashley Del Castillo, bassist in the SCPA jazz band. \" width=\"800\" height=\"620\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-800x620.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-160x124.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-1020x790.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-1180x914.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-960x744.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-240x186.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-375x290.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-520x403.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ashley Del Castillo, bassist in the SCPA jazz band. \u003ccite>(Erin Siegal McIntyre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dalina Canton, dancer\u003c/strong>:\u003cbr>\nThe arts are a vital portion in someone’s life, and can be a great outlet to show sadness or love or happiness or great feelings in the world. What we have to bring for SCPA and California is, we are still here. Regardless of who is in the White House, as long as you have something in your life, as long as you have a musical portion in your life, it’s always going to be OK.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Eliana Krasner, dancer\u003c/strong>:\u003cbr>\nWe’re showing a message that California is here to represent and celebrate all the culture and diversity. I think it’s important for the rest of the country to realize that culture and diversity is what brings us together. That’s what America is.\u003c/p>\n\n",
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"excerpt": "Student jazz musicians look forward to performing at a nonpartisan inaugural luncheon to celebrate California's role on the national stage.",
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"slug": "san-diego-high-schoolers-bring-california-sounds-to-washington",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>A group of high school musicians, singers and dancers from San Diego are performing at a special inauguration luncheon put on by the \u003ca href=\"http://www.californiastatesociety.com/\">California State Society\u003c/a> this week. It’s a nonpartisan event to highlight California culture and celebrate its role on the national stage. We dropped in at a jazz band rehearsal with kids from the San Diego School of Creative and Performing Arts (SCPA), who are playing two Duke Ellington songs: “I Didn’t Know about You” and “Play the Blues and Go.\"\u003c/em>\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/302609776&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/302609776'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Emma Christie Foster, vocals\u003c/strong>:\u003cbr>\nWe're going there and we're trying to convey a message of love, and compassion and kindness for everyone. We’re not going in anger. We just want to bring music and dance and happiness to the table at a time when things like that are kind of iffy.\u003c/p>\n\u003cp>\u003cstrong>Johncarlo Grady, drums\u003c/strong>:\u003cbr>\nWe're just trying to show how unique and diverse California is, and say we are still here.\u003c/p>\n\u003cfigure id=\"attachment_11274163\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11274163\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/JCGrady-800x548.jpg\" alt=\"Johncarlo Grady plays drums in the SCPA jazz band.\" width=\"800\" height=\"548\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-800x548.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-160x110.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-1020x699.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-1180x808.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-960x658.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-240x164.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-375x257.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/JCGrady-520x356.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Johncarlo Grady plays drums in the SCPA jazz band. \u003ccite>(Erin Siegal McIntyre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Alvin Paige, saxophone\u003c/strong>:\u003cbr>\nDue to the controversy surrounding the president-elect, we want to show how California does it culturally. And show that we’re still here, we’re strong, and support all the people that need support at this time, all the different communities. It’s a difficult time for a lot of people, so we’re there to help and support.\u003c/p>\n\u003cfigure id=\"attachment_11274228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11274228\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/AlvinSax-800x1019.jpg\" alt=\"Alvin Paige plays saxophone in the SCPA jazz band.\" width=\"800\" height=\"1019\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-800x1019.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-160x204.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-1020x1299.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-1180x1503.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-960x1223.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-240x306.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-375x478.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AlvinSax-520x662.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alvin Paige plays saxophone in the SCPA jazz band. \u003ccite>(Erin Siegal McIntyre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tate McKay, guitar \u003c/strong>:\u003cbr>\nWe're representing that California's still here, that we still have a voice.\u003c/p>\n\u003cfigure id=\"attachment_11274231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11274231\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/TateGuitar-800x555.jpg\" alt=\"Tate McKay, guitarist in the SCPA jazz band. \" width=\"800\" height=\"555\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-800x555.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-160x111.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-1020x708.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-1180x819.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-960x666.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-240x167.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-375x260.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/TateGuitar-520x361.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tate McKay, guitarist in the SCPA jazz band. \u003ccite>(Erin Siegal McIntyre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Ashley Del Castillo, bass\u003c/strong>:\u003cbr>\nI just want to go and prove to D.C. and everyone else there from California that SCPA can swing, and we can still preserve through at time of conflict.\u003c/p>\n\u003cfigure id=\"attachment_11274233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11274233\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/AshleyBass-800x620.jpg\" alt=\"Ashley Del Castillo, bassist in the SCPA jazz band. \" width=\"800\" height=\"620\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-800x620.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-160x124.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-1020x790.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-1180x914.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-960x744.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-240x186.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-375x290.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/AshleyBass-520x403.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ashley Del Castillo, bassist in the SCPA jazz band. \u003ccite>(Erin Siegal McIntyre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dalina Canton, dancer\u003c/strong>:\u003cbr>\nThe arts are a vital portion in someone’s life, and can be a great outlet to show sadness or love or happiness or great feelings in the world. What we have to bring for SCPA and California is, we are still here. Regardless of who is in the White House, as long as you have something in your life, as long as you have a musical portion in your life, it’s always going to be OK.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Eliana Krasner, dancer\u003c/strong>:\u003cbr>\nWe’re showing a message that California is here to represent and celebrate all the culture and diversity. I think it’s important for the rest of the country to realize that culture and diversity is what brings us together. That’s what America is.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "From Anderson .Paak to Magik*Magik, California Artists Defy Labels in 2016",
"title": "From Anderson .Paak to Magik*Magik, California Artists Defy Labels in 2016",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Thinking back about some of the other most impressive releases by California musicians this year, there's a striking rise of artists for whom such questions as “What does it sound like?” and “What kind of music is it?” are not just irrelevant much of the time, but often miss the point.\u003c/p>\n\u003cp>Take \u003ca href=\"https://ww2.kqed.org/news/2016/03/13/new-music-from-thao-heron-oblivion-and-los-cenzontles/\">Thao Nguyen\u003c/a>, \u003ca href=\"https://ww2.kqed.org/news/2016/07/31/new-music-yea-ming-venus-and-the-moon-and-the-side-eyes/\">Yea-Ming\u003c/a>, \u003ca href=\"https://ww2.kqed.org/news/2016/01/31/ty-segall-lucinda-williams-and-anderson-paak-kick-off-the-years-musical-highlights/\">Anderson .Paak\u003c/a> (who just scored a Best New Artist Grammy nomination),\u003ca href=\"https://ww2.kqed.org/news/2016/09/25/new-music-new-perspectives-the-gaslamp-killer-warpaint-and-dwight-yoakam/\"> the Gaslamp Killer\u003c/a>, \u003ca href=\"https://ww2.kqed.org/news/2016/06/30/new-music-from-dj-shadow-and-the-dead-ships/\">Jay Som\u003c/a>, \u003ca href=\"https://ww2.kqed.org/news/2016/08/28/new-music-from-space-to-the-beach-with-vinyl-williams-the-album-leaf-and-the-tyde/\">Vinyl Williams\u003c/a> and several others we discussed in our 2016 reviews. You could add \u003ca href=\"http://boysdontcry.co\">Frank Ocean\u003c/a>, \u003ca href=\"http://lasantacecilia.com\">La Santa Cecilia\u003c/a> and \u003ca href=\"https://www.gaby-moreno.com/?lang=en\">Gaby Moreno\u003c/a> to that list. These are artists who move fluidly in explorations across styles, genres and in some cases, even cultural and gender identifications.\u003c/p>\n\u003cp>It’s not as if they are defying us to categorize them, they’re defying any attempts, the very instincts, to categorize. Which, of course, makes a critic’s job harder, but makes for some very bracing music. In the year that David Bowie and Prince died, it’s all a perfect tribute to their spirits and legacies.\u003c/p>\n\u003cp>In that light, it was amusing to hear the strings on the song “Weep,” the opening track of the self-titled debut album by \u003ca href=\"http://www.magikmagik.com\">Magik*Magik\u003c/a>, with their dramatic, melancholic sweep sounding like they could have been on a recent James Bond theme. Well, Bond has a secret identity, and Magik*Magik is the secret identity of one Minna Choi, a.k.a. Magik*Magik, also the name of the Bay Area orchestra Choi, the Berkeley-born daughter of Korean immigrants, founded about eight years ago.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0SsrpAtpllk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Leading the orchestra, she’s collaborated with artists ranging from Death Cab for Cutie and Weezer to Radiohead's Jonny Greenwood and Narada Michael Walden, as well as serving as the house orchestra of producer John Vanderslice’s Tiny Telephone studios. Now with the first album in her own right (if not her own name), she is a moving target in terms of artistic focus, sliding across a spectrum of moods and sounds, from the somber, slow, cinematic melancholy of “Weep” and “Treacherous Road” to the glitchy electronic blips of “Sting Operation” to the bubbly pop of “Life of the Party.”\u003c/p>\n\u003cp>It’s not the orchestra part that becomes the link — though it’s there, even mixing with the electronics — but rather he strong, naturally expressive voice. But the other thread is the naturalness with which she moves between styles, not willfully eclectic, but joyfully free. A bee in a field of colorful flowers, a foodie at a vast buffet.\u003c/p>\n\u003cp>Arguably, looking over some of the year’s top artists, the shared sensibilities, such as they are, start with individual and collective multiculturalism: Paak, from Oxnard, is African-American and Korean. The Gaslamp Killer (William Bensussen) is Jewish of Turkish, Lebanese, Mexican and Lithuanian heritage. Thao Nguyen, Vietnamese-American, was born and raised in Virginia, where she played in a pop-country duo in high school. Gaby Moreno, who incidentally co-wrote the “Parks and Recreation” theme instrumental, was born in Guatemala and lives in Los Angeles, but also has Nashville connections. All have cultural roots and identification, but reach well beyond them, not calculatingly, but naturally.\u003c/p>\n\u003cp>\u003ca href=\"http://www.thaoandthegetdownstaydown.com/\">Thao and the Get Down Stay Down\u003c/a>’s “A Man Alive,” a collaboration with her friend Merrill Garbus of the always-shifting\u003ca href=\"http://tune-yards.com/\"> \u003cspan class=\"st\">tUnE-yArDs\u003c/span>\u003c/a>, was called by many a “departure” from her activist folk-rock as she examined her feelings about her absentee father in settings that maybe sounded closer to Prince than to Pete Seeger. But it seems really more an expansion, an evolution, not a break from anything — though in some ways the musical changes drew attention first to the point that the emotional depth of the album was somewhat overlooked when we discussed the album upon its release earlier this year.\u003c/p>\n\u003cp>Further listens have revealed how fully the range of sounds and styles ties to Nguyen’s personal explorations, largely dealing with her family having been abandoned by her father when she was very young and the difficulties for her, growing into adulthood, grappling with that absence. That an album can reveal more and more on repeated listenings is testimony to its depth and strengths, the power of the revelation, a further extension and expansion of the art.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=37yrktde6m0&app=desktop\u003c/p>\n\u003cp>Gaby Moreno’s “Illusión,” nominated for Best Latin Alternative album, is basically Memphis soul en Español (for the most part). Opening song “Se Apagó” starts with a lick that could have been from “Dusty in Memphis.” Though even here there’s more doing on, with “Fronteras” carrying a bit more country and “La Malaguena,” a showcase for her full vocal powers, she draws on Mexican traditions. She’s called her style “Spanglish folk-soul,” but that just tells us that even she has trouble pinning it down.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wquNdx68olM\u003c/p>\n\u003cp>Coverage of Anderson.Paak’s nomination for the Best New Artist Grammy this month often saw him called a rapper. But despite an association with Dr. Dre, his music more often than not isn’t rap. That’s abundantly clear not just on his bracing album “Malibu,” but in live performances including a delightful, playful NPR Tiny Desk Concert appearance, Paak on drums leading his sharp compact band the Free Nationals as they flow between soul and jazz and pop and rock, even surf, with grace and wit and a sense that \u003ci>anything\u003c/i> is possible. EVERYTHING is possible. In what in many ways was a very tough year in the music world, a year filled with loss and sorrow, this is a positive note.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ferZnZ0_rSM\u003c/p>\n\n",
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"excerpt": "Our pop music critic Steve Hochman looks back on some of 2016's most intriguing releases from California artists. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thinking back about some of the other most impressive releases by California musicians this year, there's a striking rise of artists for whom such questions as “What does it sound like?” and “What kind of music is it?” are not just irrelevant much of the time, but often miss the point.\u003c/p>\n\u003cp>Take \u003ca href=\"https://ww2.kqed.org/news/2016/03/13/new-music-from-thao-heron-oblivion-and-los-cenzontles/\">Thao Nguyen\u003c/a>, \u003ca href=\"https://ww2.kqed.org/news/2016/07/31/new-music-yea-ming-venus-and-the-moon-and-the-side-eyes/\">Yea-Ming\u003c/a>, \u003ca href=\"https://ww2.kqed.org/news/2016/01/31/ty-segall-lucinda-williams-and-anderson-paak-kick-off-the-years-musical-highlights/\">Anderson .Paak\u003c/a> (who just scored a Best New Artist Grammy nomination),\u003ca href=\"https://ww2.kqed.org/news/2016/09/25/new-music-new-perspectives-the-gaslamp-killer-warpaint-and-dwight-yoakam/\"> the Gaslamp Killer\u003c/a>, \u003ca href=\"https://ww2.kqed.org/news/2016/06/30/new-music-from-dj-shadow-and-the-dead-ships/\">Jay Som\u003c/a>, \u003ca href=\"https://ww2.kqed.org/news/2016/08/28/new-music-from-space-to-the-beach-with-vinyl-williams-the-album-leaf-and-the-tyde/\">Vinyl Williams\u003c/a> and several others we discussed in our 2016 reviews. You could add \u003ca href=\"http://boysdontcry.co\">Frank Ocean\u003c/a>, \u003ca href=\"http://lasantacecilia.com\">La Santa Cecilia\u003c/a> and \u003ca href=\"https://www.gaby-moreno.com/?lang=en\">Gaby Moreno\u003c/a> to that list. These are artists who move fluidly in explorations across styles, genres and in some cases, even cultural and gender identifications.\u003c/p>\n\u003cp>It’s not as if they are defying us to categorize them, they’re defying any attempts, the very instincts, to categorize. Which, of course, makes a critic’s job harder, but makes for some very bracing music. In the year that David Bowie and Prince died, it’s all a perfect tribute to their spirits and legacies.\u003c/p>\n\u003cp>In that light, it was amusing to hear the strings on the song “Weep,” the opening track of the self-titled debut album by \u003ca href=\"http://www.magikmagik.com\">Magik*Magik\u003c/a>, with their dramatic, melancholic sweep sounding like they could have been on a recent James Bond theme. Well, Bond has a secret identity, and Magik*Magik is the secret identity of one Minna Choi, a.k.a. Magik*Magik, also the name of the Bay Area orchestra Choi, the Berkeley-born daughter of Korean immigrants, founded about eight years ago.\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/0SsrpAtpllk'\n title='//www.youtube.com/embed/0SsrpAtpllk'\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>Leading the orchestra, she’s collaborated with artists ranging from Death Cab for Cutie and Weezer to Radiohead's Jonny Greenwood and Narada Michael Walden, as well as serving as the house orchestra of producer John Vanderslice’s Tiny Telephone studios. Now with the first album in her own right (if not her own name), she is a moving target in terms of artistic focus, sliding across a spectrum of moods and sounds, from the somber, slow, cinematic melancholy of “Weep” and “Treacherous Road” to the glitchy electronic blips of “Sting Operation” to the bubbly pop of “Life of the Party.”\u003c/p>\n\u003cp>It’s not the orchestra part that becomes the link — though it’s there, even mixing with the electronics — but rather he strong, naturally expressive voice. But the other thread is the naturalness with which she moves between styles, not willfully eclectic, but joyfully free. A bee in a field of colorful flowers, a foodie at a vast buffet.\u003c/p>\n\u003cp>Arguably, looking over some of the year’s top artists, the shared sensibilities, such as they are, start with individual and collective multiculturalism: Paak, from Oxnard, is African-American and Korean. The Gaslamp Killer (William Bensussen) is Jewish of Turkish, Lebanese, Mexican and Lithuanian heritage. Thao Nguyen, Vietnamese-American, was born and raised in Virginia, where she played in a pop-country duo in high school. Gaby Moreno, who incidentally co-wrote the “Parks and Recreation” theme instrumental, was born in Guatemala and lives in Los Angeles, but also has Nashville connections. All have cultural roots and identification, but reach well beyond them, not calculatingly, but naturally.\u003c/p>\n\u003cp>\u003ca href=\"http://www.thaoandthegetdownstaydown.com/\">Thao and the Get Down Stay Down\u003c/a>’s “A Man Alive,” a collaboration with her friend Merrill Garbus of the always-shifting\u003ca href=\"http://tune-yards.com/\"> \u003cspan class=\"st\">tUnE-yArDs\u003c/span>\u003c/a>, was called by many a “departure” from her activist folk-rock as she examined her feelings about her absentee father in settings that maybe sounded closer to Prince than to Pete Seeger. But it seems really more an expansion, an evolution, not a break from anything — though in some ways the musical changes drew attention first to the point that the emotional depth of the album was somewhat overlooked when we discussed the album upon its release earlier this year.\u003c/p>\n\u003cp>Further listens have revealed how fully the range of sounds and styles ties to Nguyen’s personal explorations, largely dealing with her family having been abandoned by her father when she was very young and the difficulties for her, growing into adulthood, grappling with that absence. That an album can reveal more and more on repeated listenings is testimony to its depth and strengths, the power of the revelation, a further extension and expansion of the art.\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/37yrktde6m0'\n title='//www.youtube.com/embed/37yrktde6m0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gaby Moreno’s “Illusión,” nominated for Best Latin Alternative album, is basically Memphis soul en Español (for the most part). Opening song “Se Apagó” starts with a lick that could have been from “Dusty in Memphis.” Though even here there’s more doing on, with “Fronteras” carrying a bit more country and “La Malaguena,” a showcase for her full vocal powers, she draws on Mexican traditions. She’s called her style “Spanglish folk-soul,” but that just tells us that even she has trouble pinning it down.\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/wquNdx68olM'\n title='//www.youtube.com/embed/wquNdx68olM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Coverage of Anderson.Paak’s nomination for the Best New Artist Grammy this month often saw him called a rapper. But despite an association with Dr. Dre, his music more often than not isn’t rap. That’s abundantly clear not just on his bracing album “Malibu,” but in live performances including a delightful, playful NPR Tiny Desk Concert appearance, Paak on drums leading his sharp compact band the Free Nationals as they flow between soul and jazz and pop and rock, even surf, with grace and wit and a sense that \u003ci>anything\u003c/i> is possible. EVERYTHING is possible. In what in many ways was a very tough year in the music world, a year filled with loss and sorrow, this is a positive note.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ferZnZ0_rSM'\n title='//www.youtube.com/embed/ferZnZ0_rSM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Musical Reinvention: From Breakup Anthems to the Beatles Songbook",
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"content": "\u003cp>Some of the greatest songs ever written were inspired by the pain and anger of a failed romance (Bob Dylan’s Nobel-enshrined songbook positively brims with bitter kiss-offs). Los Angeles producer, multi-instrumentalist and sound sculptor\u003ca href=\"http://www.tconley.com\"> MAST\u003c/a> (aka Tim Conley) adds an ambitious and deeply engaging chapter to the annals of breakup albums with \u003cem>Love and War_ \u003c/em>(Alpha Pup).\u003c/p>\n\u003cp>The project evolved out of a two-year relationship that didn’t end well. The album unfolds in three acts, the titular “Love,” “War” and concluding “Transcendence.” Maybe I’m perverse, but my favorite section is the angst-ridden middle act when everything falls apart, and the plot line keeps taking left turns, like on the darkly hilarious dating dystopia “Should’ve Swiped Left” featuring rapper \u003ca href=\"https://thekoreatownoddity.bandcamp.com/\">The Koreatown Oddity\u003c/a>.\u003c/p>\n\u003cp>Steeped in jazz, MAST draws on a sonic sensibility drawn from L.A.’s long-running Low End Theory, a weekly club night in Lincoln Heights co-launched by Daddy Kev, who mixed and mastered \u003cem>Love and War_.\u003c/em> The majority of the album’s 17 tracks are instrumental, but MAST brings in a host of special guests, like the brilliant L.A. saxophonist Gavin Templeton, who adds a feral edge to the hi-hat propelled “On the Prawl Again, Again.” There are several seductive musical themes that surface and sublimate over and over, creating a cohesive sonic narrative amid the various beats and textures. I didn’t love every track, but many stand on their own, like “The Breakup,” which features haunting vocals from\u003ca href=\"http://www.brainfeedersite.com/2012/06/04/ryat-totem/\"> Ryat\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-11140755\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/HCSF-800x711.jpg\" alt=\"HCSF\" width=\"800\" height=\"711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-800x711.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-1020x907.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-1920x1707.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-1180x1049.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-960x853.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-240x213.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-375x333.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-520x462.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>While MAST reinvents the breakup album, the \u003ca href=\"http://www.hotclubsf.com\">Hot Club of\u003c/a> \u003ca href=\"http://www.hotclubsf.com\">San Francisco\u003c/a> transforms The Beatles songbook with a dose of Gypsy jazz on \u003cem>John, Paul, George, and Django\u003c/em> (Hot Club Records). Led by guitarist Paul Mehling, the Hot Club spearheaded the Gypsy swing revival in the United States some three decades ago. Over the years the group has featured a bevy of excellent musicians, but the present lineup is one of the strongest, starting with violinist Evan Price, a pithy Stephane Grappelli to Mehling’s mellower take on Django Reinhardt.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mehling has been laying the groundwork for \u003cem>John, Paul, George, and Django \u003c/em>for years, dating back at least to \u003cem>Quintet of the Hot Club of San Francisco\u003c/em>, the 1994 album featuring “And I Love Her.” He found another effective vehicle on 1997’s \u003cem>Swing This\u003c/em> with a gorgeous arrangement of “While My Guitar Gently Weeps.”\u003c/p>\n\u003cp>In the same way, what makes this new project work is the arrangements, which honor and reference the original recordings, while always offering something new. The concept can be as simple as the lovely version of “Because” that opens at the song’s original ballad tempo and then accelerates to a brisk swing. I love the trance-like 5/4 groove on “Fool On the Hill” and the interaction between Price’s violin and rhythm guitarist Isabelle Fontaine’s vocals on “For No One.” She provides another highlight on “If I Needed Someone,” where her delivery of her translated lyrics turn the tune into a Gallic torch song.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than another album of Beatles covers, \u003cem>John, Paul, George, and Django\u003c/em> expands the Gypsy jazz repertoire, suggesting brave new worlds for exploration by Djangologists.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some of the greatest songs ever written were inspired by the pain and anger of a failed romance (Bob Dylan’s Nobel-enshrined songbook positively brims with bitter kiss-offs). Los Angeles producer, multi-instrumentalist and sound sculptor\u003ca href=\"http://www.tconley.com\"> MAST\u003c/a> (aka Tim Conley) adds an ambitious and deeply engaging chapter to the annals of breakup albums with \u003cem>Love and War_ \u003c/em>(Alpha Pup).\u003c/p>\n\u003cp>The project evolved out of a two-year relationship that didn’t end well. The album unfolds in three acts, the titular “Love,” “War” and concluding “Transcendence.” Maybe I’m perverse, but my favorite section is the angst-ridden middle act when everything falls apart, and the plot line keeps taking left turns, like on the darkly hilarious dating dystopia “Should’ve Swiped Left” featuring rapper \u003ca href=\"https://thekoreatownoddity.bandcamp.com/\">The Koreatown Oddity\u003c/a>.\u003c/p>\n\u003cp>Steeped in jazz, MAST draws on a sonic sensibility drawn from L.A.’s long-running Low End Theory, a weekly club night in Lincoln Heights co-launched by Daddy Kev, who mixed and mastered \u003cem>Love and War_.\u003c/em> The majority of the album’s 17 tracks are instrumental, but MAST brings in a host of special guests, like the brilliant L.A. saxophonist Gavin Templeton, who adds a feral edge to the hi-hat propelled “On the Prawl Again, Again.” There are several seductive musical themes that surface and sublimate over and over, creating a cohesive sonic narrative amid the various beats and textures. I didn’t love every track, but many stand on their own, like “The Breakup,” which features haunting vocals from\u003ca href=\"http://www.brainfeedersite.com/2012/06/04/ryat-totem/\"> Ryat\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-11140755\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/HCSF-800x711.jpg\" alt=\"HCSF\" width=\"800\" height=\"711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-800x711.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-1020x907.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-1920x1707.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-1180x1049.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-960x853.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-240x213.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-375x333.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-520x462.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>While MAST reinvents the breakup album, the \u003ca href=\"http://www.hotclubsf.com\">Hot Club of\u003c/a> \u003ca href=\"http://www.hotclubsf.com\">San Francisco\u003c/a> transforms The Beatles songbook with a dose of Gypsy jazz on \u003cem>John, Paul, George, and Django\u003c/em> (Hot Club Records). Led by guitarist Paul Mehling, the Hot Club spearheaded the Gypsy swing revival in the United States some three decades ago. Over the years the group has featured a bevy of excellent musicians, but the present lineup is one of the strongest, starting with violinist Evan Price, a pithy Stephane Grappelli to Mehling’s mellower take on Django Reinhardt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mehling has been laying the groundwork for \u003cem>John, Paul, George, and Django \u003c/em>for years, dating back at least to \u003cem>Quintet of the Hot Club of San Francisco\u003c/em>, the 1994 album featuring “And I Love Her.” He found another effective vehicle on 1997’s \u003cem>Swing This\u003c/em> with a gorgeous arrangement of “While My Guitar Gently Weeps.”\u003c/p>\n\u003cp>In the same way, what makes this new project work is the arrangements, which honor and reference the original recordings, while always offering something new. The concept can be as simple as the lovely version of “Because” that opens at the song’s original ballad tempo and then accelerates to a brisk swing. I love the trance-like 5/4 groove on “Fool On the Hill” and the interaction between Price’s violin and rhythm guitarist Isabelle Fontaine’s vocals on “For No One.” She provides another highlight on “If I Needed Someone,” where her delivery of her translated lyrics turn the tune into a Gallic torch song.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than another album of Beatles covers, \u003cem>John, Paul, George, and Django\u003c/em> expands the Gypsy jazz repertoire, suggesting brave new worlds for exploration by Djangologists.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.laphil.com/philpedia/gustavo-dudamel\" target=\"_blank\">Gustavo Dudamel\u003c/a> is the artistic director and conductor of the Los Angeles Philharmonic, known for his wild curly hair and his passionate conducting style. We caught up with Dudamel to talk about his youth orchestra's first-ever statewide tour, which runs Oct. 23-30, with stops in Southern California, the Central Valley and the Bay Area.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/289389916\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>\u003cstrong>Welcome to the show, Maestro. Is that what to call you?\u003c/strong>\u003c/p>\n\u003cp>Yes, but I prefer that you call me Gustavo.\u003c/p>\n\u003cp>\u003cstrong>You founded the \u003ca href=\"http://www.laphil.com/education/yola\">Youth Orchestra Los Angeles (YOLA)\u003c/a>, which is celebrating its 10th anniversary. It’s a music education program that provides instruments and training for about 800 kids from underserved communities in Los Angeles. Tell me about the kids in YOLA.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s inspired by El Sistema, a program that we have in Venezuela. I’m a result of this beautiful, beautiful musical, artistic social program. For 10 years, [YOLA has] developed many things, especially the personality of these children, their belief in life. This is the beautiful thing that music gives to them. We are very happy we are doing our first tour, after 10 years. It’s a good way to celebrate.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FveDFyqznG8\u003c/p>\n\u003cp>\u003cstrong>You still direct an orchestra in Venezuela, although you’ve shied away from weighing in on the current political crisis there. Until recently when you made some \u003ca href=\"http://files.constantcontact.com/d3003c0e401/82558dde-3e34-497b-adb9-01f7ae362ec8.pdf\">comments\u003c/a> at a White House ceremony. Tell us what you said.\u003c/strong>\u003c/p>\n\u003cp>Normally, in times of crisis, the first thing people cut is art, music, cultural things for children. People don’t understand that art is a very important element of human beings. It’s beauty, it’s creativity. Of course, we are living in very difficult times in the world. In my country, it’s a very difficult economic and political time. But we have to keep working, and I think El Sistema is a symbol of this hope of the country. And I’m sure things will get better, but we have to keep playing, in our case, with our instruments, building our country, building a better world.\u003c/p>\n\u003cp>\u003cstrong>Your comments generated a lot of \u003ca href=\"http://www.camelloparlante.com/2016/09/29/la-dura-respuesta-de-gabriela-montero-al-discurso-de-dudamel/\">criticism\u003c/a> on Twitter and elsewhere from people who thought you were being too insensitive to the fact that many people in Venezuela are having trouble getting food and meeting basic needs.\u003c/strong>\u003c/p>\n\u003cp>Absolutely. You know, I have family living there. They are suffering the same things. But the thing is, you have to keep working. I’m a person that works. I don’t like to talk. I prefer to work and build things. I’m not a politician, my dear, I’m a musician, I’m an artist. Of course, I’m a citizen. But what I can do is spread the message of music and art as a very important element of humanity. This is the thing that I do. I’m with my country, with all the people that are suffering. But what I can say is that we will get out of this difficult moment. But keep working and keep dreaming, because nobody can kill our dreams.\u003c/p>\n\u003cp>\u003cstrong>Part of your dream here in California is to make classical music more accessible. How do you do that?\u003c/strong>\u003c/p>\n\u003cp>We are an orchestra that has two great venues, Disney Hall and the Hollywood Bowl. At the Bowl, we can have 18,000 people every night. So it’s beautiful, the amount of people that have access to classical music. Tickets are less expensive, some of them only a dollar. And with all the programs we have here for young people, for children, for new music, I think our doors are really open to new audiences.\u003c/p>\n\u003cp>\u003cstrong>You recently got to conduct part of John Williams' soundtrack for the latest \"Star Wars\" movie, \"The Force Awakens.\" What was that like?\u003c/strong>\u003c/p>\n\u003cp>Well, amazing. Imagine, knowing the film and this music since I was a child. By the way, my son is a big admirer of \"Star Wars,\" so I took him to the session. It was amazing. I’m so thankful and grateful to have John Williams as a friend. When he called me, I was like, ‘Are you sure John, you are not joking?’ He said, ‘No, I would love to give a surprise to the orchestra.' It was a great experience. I’d love to repeat it again someday.\u003c/p>\n\u003cp>\u003cstrong>You mentioned your 5-year-old son, Martin. You travel around the world, you’ve got this grueling schedule. How do you juggle it all and make time for him?\u003c/strong>\u003c/p>\n\u003cp>I open time. I try to be a good father. When I’m here in Los Angeles, I take him every morning to school. He comes on tour with me sometimes. He goes to Venezuela with his mom, with me, we have all the family there. It’s not the amount of time you spend with them. It’s the quality of the time you give to your children.\u003c/p>\n\u003cp>\u003cstrong>I’ve got to ask you about \u003ca href=\"https://www.amazon.com/Mozart-Jungle-Season-1/dp/B00I3MNGCG\">\"Mozart in the Jungle,\" \u003c/a>the Netflix show about a young Latin American conductor that comes to the U.S. It's loosely based on your story, although the character in that show has a hot temper, a womanizer!\u003c/strong>\u003c/p>\n\u003cp>I’m not that. Yes, the show is inspired by my beginning as a musician, arriving here to L.A. But the character, we are completely different. Yes, we are very inspired about what we do. But I’m not as crazy as Rodrigo. But I have fun watching the TV series, because it’s a good way to get people connected to classical music.\u003c/p>\n\u003cp>\u003cstrong>Does Los Angeles feel like home for you now?\u003c/strong>\u003c/p>\n\u003cp>Yes, completely. I feel so beautiful. Every day I try to make more connections between my country and Los Angeles. Because in this moment that people are trying to create more borders, between us, between human beings, we have to build more bridges. I’m looking at a map right now, of America, of all of America. We are one America, and we have to unite our vision. We can’t agree on everything, but from disagreement, we can build beautiful things. This is maybe a very utopic way to think, but I believe we can build a better world building bridges.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This interview has been edited for brevity and clarity.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.laphil.com/philpedia/gustavo-dudamel\" target=\"_blank\">Gustavo Dudamel\u003c/a> is the artistic director and conductor of the Los Angeles Philharmonic, known for his wild curly hair and his passionate conducting style. We caught up with Dudamel to talk about his youth orchestra's first-ever statewide tour, which runs Oct. 23-30, with stops in Southern California, the Central Valley and the Bay Area.\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/289389916&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/289389916'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Welcome to the show, Maestro. Is that what to call you?\u003c/strong>\u003c/p>\n\u003cp>Yes, but I prefer that you call me Gustavo.\u003c/p>\n\u003cp>\u003cstrong>You founded the \u003ca href=\"http://www.laphil.com/education/yola\">Youth Orchestra Los Angeles (YOLA)\u003c/a>, which is celebrating its 10th anniversary. It’s a music education program that provides instruments and training for about 800 kids from underserved communities in Los Angeles. Tell me about the kids in YOLA.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s inspired by El Sistema, a program that we have in Venezuela. I’m a result of this beautiful, beautiful musical, artistic social program. For 10 years, [YOLA has] developed many things, especially the personality of these children, their belief in life. This is the beautiful thing that music gives to them. We are very happy we are doing our first tour, after 10 years. It’s a good way to celebrate.\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/FveDFyqznG8'\n title='//www.youtube.com/embed/FveDFyqznG8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You still direct an orchestra in Venezuela, although you’ve shied away from weighing in on the current political crisis there. Until recently when you made some \u003ca href=\"http://files.constantcontact.com/d3003c0e401/82558dde-3e34-497b-adb9-01f7ae362ec8.pdf\">comments\u003c/a> at a White House ceremony. Tell us what you said.\u003c/strong>\u003c/p>\n\u003cp>Normally, in times of crisis, the first thing people cut is art, music, cultural things for children. People don’t understand that art is a very important element of human beings. It’s beauty, it’s creativity. Of course, we are living in very difficult times in the world. In my country, it’s a very difficult economic and political time. But we have to keep working, and I think El Sistema is a symbol of this hope of the country. And I’m sure things will get better, but we have to keep playing, in our case, with our instruments, building our country, building a better world.\u003c/p>\n\u003cp>\u003cstrong>Your comments generated a lot of \u003ca href=\"http://www.camelloparlante.com/2016/09/29/la-dura-respuesta-de-gabriela-montero-al-discurso-de-dudamel/\">criticism\u003c/a> on Twitter and elsewhere from people who thought you were being too insensitive to the fact that many people in Venezuela are having trouble getting food and meeting basic needs.\u003c/strong>\u003c/p>\n\u003cp>Absolutely. You know, I have family living there. They are suffering the same things. But the thing is, you have to keep working. I’m a person that works. I don’t like to talk. I prefer to work and build things. I’m not a politician, my dear, I’m a musician, I’m an artist. Of course, I’m a citizen. But what I can do is spread the message of music and art as a very important element of humanity. This is the thing that I do. I’m with my country, with all the people that are suffering. But what I can say is that we will get out of this difficult moment. But keep working and keep dreaming, because nobody can kill our dreams.\u003c/p>\n\u003cp>\u003cstrong>Part of your dream here in California is to make classical music more accessible. How do you do that?\u003c/strong>\u003c/p>\n\u003cp>We are an orchestra that has two great venues, Disney Hall and the Hollywood Bowl. At the Bowl, we can have 18,000 people every night. So it’s beautiful, the amount of people that have access to classical music. Tickets are less expensive, some of them only a dollar. And with all the programs we have here for young people, for children, for new music, I think our doors are really open to new audiences.\u003c/p>\n\u003cp>\u003cstrong>You recently got to conduct part of John Williams' soundtrack for the latest \"Star Wars\" movie, \"The Force Awakens.\" What was that like?\u003c/strong>\u003c/p>\n\u003cp>Well, amazing. Imagine, knowing the film and this music since I was a child. By the way, my son is a big admirer of \"Star Wars,\" so I took him to the session. It was amazing. I’m so thankful and grateful to have John Williams as a friend. When he called me, I was like, ‘Are you sure John, you are not joking?’ He said, ‘No, I would love to give a surprise to the orchestra.' It was a great experience. I’d love to repeat it again someday.\u003c/p>\n\u003cp>\u003cstrong>You mentioned your 5-year-old son, Martin. You travel around the world, you’ve got this grueling schedule. How do you juggle it all and make time for him?\u003c/strong>\u003c/p>\n\u003cp>I open time. I try to be a good father. When I’m here in Los Angeles, I take him every morning to school. He comes on tour with me sometimes. He goes to Venezuela with his mom, with me, we have all the family there. It’s not the amount of time you spend with them. It’s the quality of the time you give to your children.\u003c/p>\n\u003cp>\u003cstrong>I’ve got to ask you about \u003ca href=\"https://www.amazon.com/Mozart-Jungle-Season-1/dp/B00I3MNGCG\">\"Mozart in the Jungle,\" \u003c/a>the Netflix show about a young Latin American conductor that comes to the U.S. It's loosely based on your story, although the character in that show has a hot temper, a womanizer!\u003c/strong>\u003c/p>\n\u003cp>I’m not that. Yes, the show is inspired by my beginning as a musician, arriving here to L.A. But the character, we are completely different. Yes, we are very inspired about what we do. But I’m not as crazy as Rodrigo. But I have fun watching the TV series, because it’s a good way to get people connected to classical music.\u003c/p>\n\u003cp>\u003cstrong>Does Los Angeles feel like home for you now?\u003c/strong>\u003c/p>\n\u003cp>Yes, completely. I feel so beautiful. Every day I try to make more connections between my country and Los Angeles. 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"content": "\u003cp>Clothes hang to dry on a metal fence surrounding the one-story apartment complex where Bounxeung Synanonh lives. A few toys litter the thirsty lawn.\u003c/p>\n\u003cp>But open the front door going directly into Synanonh’s tidy living room, and suddenly signs of ordinary life fade away to the sound of the \u003ca href=\"http://www.ksanti.net/free-reed/essays/khaenlaos.html\">khaen\u003c/a>, a traditional Laotian bamboo mouth organ.\u003c/p>\n\u003cp>Yes, off the beaten path in central Fresno, you’ll find a masterful musician, so well regarded that he was recently chosen as one of only nine artists in the United States to receive the \u003ca href=\"https://www.arts.gov/honors/heritage\">National Heritage Fellowship\u003c/a> from the National Endowment for the Arts.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/284372971″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>There’s no higher award honoring traditional and folk artists in America. Some past recipients include BB King, the creator of bluegrass Bill Monroe, and ballad singer and storyteller Sheila Kay Adams. Rarely are the artists as famous as the king of the blues, but they are masters of their work, connecting people to a sense of place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And every time \u003ca href=\"https://www.arts.gov/honors/heritage/fellows/bounxeung-synanonh\">Synanonh plays the khaen\u003c/a>, he is playing nothing less than the sound of home for the Laotian diaspora in Fresno and beyond. Playing the khaen is kind of like playing the harmonica in that the musician inhales and exhales through the instrument, allowing for a continuous sound.\u003c/p>\n\u003cp>But the khaen looks nothing like a harmonica. It has 16 long bamboo pipes or “flutes.” Synanonh blows through only one hole and plays notes with his fingers on the bamboo pipes. Each one of the pipes has a small metal reed in it.\u003c/p>\n\u003cp>When Synanonh was 15, he learned to play the khaen from his uncle and other village elders in Laos. That same year, he lost his eyesight. He says being blind forced him to learn only by ear.\u003c/p>\n\u003cp>“Once he got blind, and can’t see, then he plays more and more, and now he becomes an expert,” says Sonny Somchitvongsa, Synanonh’s interpreter.\u003c/p>\n\u003cp>In fact, Lao communities all over the country invite Synanonh to perform and even teach music lessons. This summer, he performed in Washington, D.C., at the \u003ca href=\"http://www.festival.si.edu/\">Smithsonian Folklife Festival\u003c/a>. His dedication to preserving the tradition of the khaen is one reason why he won a National Heritage Fellowship, which includes a $25,000 award.\u003c/p>\n\u003cfigure id=\"attachment_11101008\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/khaen-800x1051.jpg\" alt=\"Bounxeung Synanonh plays the khaen, which he says takes a lot of lung power.\" width=\"800\" height=\"1051\" class=\"size-medium wp-image-11101008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/09/khaen-800x1051.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/09/khaen-400x526.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/09/khaen.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/09/khaen-1180x1551.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/09/khaen-960x1262.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bounxeung Synanonh plays the khaen, which he says takes a lot of lung power. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The khaen is not only a rich solo instrument; it’s also used to accompany storytelling in song.\u003c/p>\n\u003cp>Somchitvongsa is happy to demonstrate but he first he has to make sure Synanonh is in the right key.\u003c/p>\n\u003cp>“I can’t sing the high key, too high,” he says, and then sings a few words. “OK. Now it’s ready.”\u003c/p>\n\u003cp>He sings a song called “Tai Dam Lam Phanh.” It’s about an ethnic group called Tai Dam that has to flee its homeland because of all the bombing during the CIA’s secret war in Laos.\u003c/p>\n\u003cp>It’s a story Synanonh knows all too well. Like many Lao refugees here in the United States, he fled his homeland in the late 1970s for Thailand, where he ended up in a refugee camp. In 1981, when he was 32, he came to the U.S.\u003c/p>\n\u003cp>“I landed in Iowa, I lived there, but there’s no Lao people there,” he says. “Life is not too happy, and also it’s cold, and there’s snow.”\u003c/p>\n\u003cp>He lasted about a year in Iowa, until friends and cousins in Fresno urged him to move here where the weather is warm.\u003c/p>\n\u003cp>His wife, Kham Souvanakhyly, is happy he came to Fresno, too. She is also a refugee from Laos, but the couple met in the Central Valley. She has nine children from a previous marriage. Synanonh has tried to teach some of his stepchildren to play the khaen but they haven’t shown much interest, he says. Still, there are plenty of other students interested in learning from him.\u003c/p>\n\u003cp>Souvanakhyly says she is very proud of her husband. It makes her happy to hear him play. But, she says, every time he plays, she misses her homeland.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She says she yearns for Laos. And like others who are part of the diaspora, when she hears the khaen, memories of what she left behind so many years ago come flooding back. Bounxeung Synanonh will receive his award at the Library of Congress in Washington later this month.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Clothes hang to dry on a metal fence surrounding the one-story apartment complex where Bounxeung Synanonh lives. A few toys litter the thirsty lawn.\u003c/p>\n\u003cp>But open the front door going directly into Synanonh’s tidy living room, and suddenly signs of ordinary life fade away to the sound of the \u003ca href=\"http://www.ksanti.net/free-reed/essays/khaenlaos.html\">khaen\u003c/a>, a traditional Laotian bamboo mouth organ.\u003c/p>\n\u003cp>Yes, off the beaten path in central Fresno, you’ll find a masterful musician, so well regarded that he was recently chosen as one of only nine artists in the United States to receive the \u003ca href=\"https://www.arts.gov/honors/heritage\">National Heritage Fellowship\u003c/a> from the National Endowment for the Arts.\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/284372971″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/284372971″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There’s no higher award honoring traditional and folk artists in America. Some past recipients include BB King, the creator of bluegrass Bill Monroe, and ballad singer and storyteller Sheila Kay Adams. Rarely are the artists as famous as the king of the blues, but they are masters of their work, connecting people to a sense of place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And every time \u003ca href=\"https://www.arts.gov/honors/heritage/fellows/bounxeung-synanonh\">Synanonh plays the khaen\u003c/a>, he is playing nothing less than the sound of home for the Laotian diaspora in Fresno and beyond. Playing the khaen is kind of like playing the harmonica in that the musician inhales and exhales through the instrument, allowing for a continuous sound.\u003c/p>\n\u003cp>But the khaen looks nothing like a harmonica. It has 16 long bamboo pipes or “flutes.” Synanonh blows through only one hole and plays notes with his fingers on the bamboo pipes. Each one of the pipes has a small metal reed in it.\u003c/p>\n\u003cp>When Synanonh was 15, he learned to play the khaen from his uncle and other village elders in Laos. That same year, he lost his eyesight. He says being blind forced him to learn only by ear.\u003c/p>\n\u003cp>“Once he got blind, and can’t see, then he plays more and more, and now he becomes an expert,” says Sonny Somchitvongsa, Synanonh’s interpreter.\u003c/p>\n\u003cp>In fact, Lao communities all over the country invite Synanonh to perform and even teach music lessons. This summer, he performed in Washington, D.C., at the \u003ca href=\"http://www.festival.si.edu/\">Smithsonian Folklife Festival\u003c/a>. His dedication to preserving the tradition of the khaen is one reason why he won a National Heritage Fellowship, which includes a $25,000 award.\u003c/p>\n\u003cfigure id=\"attachment_11101008\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/khaen-800x1051.jpg\" alt=\"Bounxeung Synanonh plays the khaen, which he says takes a lot of lung power.\" width=\"800\" height=\"1051\" class=\"size-medium wp-image-11101008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/09/khaen-800x1051.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/09/khaen-400x526.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/09/khaen.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/09/khaen-1180x1551.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/09/khaen-960x1262.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bounxeung Synanonh plays the khaen, which he says takes a lot of lung power. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The khaen is not only a rich solo instrument; it’s also used to accompany storytelling in song.\u003c/p>\n\u003cp>Somchitvongsa is happy to demonstrate but he first he has to make sure Synanonh is in the right key.\u003c/p>\n\u003cp>“I can’t sing the high key, too high,” he says, and then sings a few words. “OK. Now it’s ready.”\u003c/p>\n\u003cp>He sings a song called “Tai Dam Lam Phanh.” It’s about an ethnic group called Tai Dam that has to flee its homeland because of all the bombing during the CIA’s secret war in Laos.\u003c/p>\n\u003cp>It’s a story Synanonh knows all too well. Like many Lao refugees here in the United States, he fled his homeland in the late 1970s for Thailand, where he ended up in a refugee camp. In 1981, when he was 32, he came to the U.S.\u003c/p>\n\u003cp>“I landed in Iowa, I lived there, but there’s no Lao people there,” he says. “Life is not too happy, and also it’s cold, and there’s snow.”\u003c/p>\n\u003cp>He lasted about a year in Iowa, until friends and cousins in Fresno urged him to move here where the weather is warm.\u003c/p>\n\u003cp>His wife, Kham Souvanakhyly, is happy he came to Fresno, too. She is also a refugee from Laos, but the couple met in the Central Valley. She has nine children from a previous marriage. Synanonh has tried to teach some of his stepchildren to play the khaen but they haven’t shown much interest, he says. Still, there are plenty of other students interested in learning from him.\u003c/p>\n\u003cp>Souvanakhyly says she is very proud of her husband. It makes her happy to hear him play. But, she says, every time he plays, she misses her homeland.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She says she yearns for Laos. And like others who are part of the diaspora, when she hears the khaen, memories of what she left behind so many years ago come flooding back. Bounxeung Synanonh will receive his award at the Library of Congress in Washington later this month.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Three New Releases by Boundary-Bending Bay Area Artists",
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"content": "\u003cp>There are few things more exciting than watching young (or not so young) musicians find their voices. The sound of discovery shines out of every track on “\u003ca href=\"http://ridgewayrecords.net/opaluna-2/\">Opaluna\u003c/a>” (Ridgeway Records), the eponymous new album by two 20-something musicians, the Colombian-born vocalist \u003ca href=\"http://www.susanapineda.com/opaluna\">Susana Pineda\u003c/a> and Bay Area guitarist Luis Salcedo.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/283269973\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Pineda hails from Medellin and decided to study in the U.S. with the encouragement of her mentor, \u003ca href=\"https://www.youtube.com/watch?v=XGm-6-ewoH0\">Claudia Gomez\u003c/a>, who was a major force in the Bay Area Latin music scene in the 1980s and '90s before moving back to Colombia. Pineda and Salcedo met at the\u003ca href=\"http://cjc.edu/\" target=\"_blank\"> California Jazz Conservatory\u003c/a> in Berkeley, and they’ve honed a gorgeous roots-meets-21\u003csup>st \u003c/sup>century sound filtered through their love of jazz.\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-full wp-image-11089942\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/Opaluna_COVER.jpg\" alt=\"Opaluna_COVER\" width=\"395\" height=\"367\">\u003c/p>\n\u003cp>Salcedo is an accomplished guitarist who creates intricately latticed settings for Pineda’s gleaming vocals, breathing new life into the classic bolero \"\u003ca href=\"https://www.youtube.com/watch?v=Phc3_YNBR6U&index=5&list=PLQ44iCsZHimRcAsbh33C8-d9r0YWu28dj\">Dos Gardenias.\u003c/a>\" They're joined on several tracks by percussion maestro \u003ca href=\"http://johnsantos.com\">John Santos\u003c/a> and \u003ca href=\"http://www.jeffdenson.com\">bassist Jeff Denson\u003c/a>, who produced the album (and founded and runs \u003ca href=\"http://ridgewayrecords.net\">Ridgeway Records\u003c/a>). Their originals are consistently winsome and winning, but I particularly loved their arrangement of “Mahjong” (with Santos) that foregrounds the folkloric melodic core of Wayne Shorter’s cosmic harmonies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Opaluna draws on samba and psychedelia, Afro-Caribbean rhythms and an array of folk traditions. Another highlight is “Baile de Opuestos,” a musical translation of Frank Loesser’s “Inchworm” set to a Colombian joropo rhythm. Fresh and endearingly earnest, Opaluna creates jazz with a Latin-American sensibility all their own.\u003c/p>\n\u003cp>Recent graduates aren’t the only players branching out into new territory. One of my favorite new albums is Oakland folk singer \u003ca href=\"http://www.aireeneespiritu.com\">Aireene Espiritu’s\u003c/a> “Back Where I Belong,” a project focusing on songs by or associated with Bay Area R&B great \u003ca href=\"https://en.wikipedia.org/wiki/Sugar_Pie_DeSanto\">Sugar Pie DeSanto\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11089943\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/Aireene-Espiritu-800x803.jpg\" alt=\"Aireene Espiritu\" width=\"800\" height=\"803\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-800x803.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-400x401.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu.jpg 870w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>It’s one of four new roots-music-with-a-twist projects released by the pianist Jim Pugh’s \u003ca href=\"http://littlevillagefoundation.com\">Little Village Foundation\u003c/a>. The CD that’s gotten the lion’s share of attention, not undeservedly, is Indian-born blues harmonica player Aki Kumar’s “\u003ca href=\"http://littlevillagefoundation.com/artists/aki-kumar/\">Aki Goes to Bollywood\u003c/a>.” But the Philippine-born Espiritu’s tribute to the great Filipina R&B singer who recorded for Chess Records in the 1960s is similarly head-turning, with arrangements filtered through her love of American roots music.\u003c/p>\n\u003cp>Backed by a top-shelf band led by Norwegian-born guitarist and \u003ca href=\"http://thehub.musiciansfriend.com/art-of-sound/the-art-of-sound-a-conversation-with-producer-christoffer-kid-andersen\">producer Kid Andersen\u003c/a> (who recorded the project in his \u003ca href=\"https://www.facebook.com/Greaseland/\">Greaseland Studios\u003c/a> in San Jose), Espiritu plays tenor ukulele and belts out songs in an array of styles. She sings spirituals, Motown, blues, R&B and even covers several songs associated with Pinoy rock\u003ca href=\"https://en.wikipedia.org/wiki/Freddie_Aguilar\"> icon Freddie Aguilar\u003c/a>, infusing Philippine standards with Oakland soul. But at the heart of the album is DeSanto, who wrote some great tunes. Espiritu delivers her “Going Back Where I Belong” with total conviction, and lets her wicked side out on “Witch For a Night.” But my favorite track is her aching version of “My Illusions,” an overlooked b-side from a 1970 DeSanto single.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11089944\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/Album-Cover--800x800.jpg\" alt=\"Album Cover -\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover-.jpg 1503w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Finally, Bay Area \u003ca href=\"http://www.willmagid.com\">multi-instrumentalist Will Magid\u003c/a> delivers an intoxicating dose of orchestral space-age soul on his new album “Alligator Spacewalk.” Featuring an expansive ensemble with strings and brass, the album is most interesting when Magid unleashes \u003ca href=\"http://sharlottegibson.com\">Sharlotte Gibson\u003c/a>, a powerhouse vocalist who sounds gloriously regal on “The Crown” and “Sweet Something.” Best known as the longtime ringleader of the \u003ca href=\"http://www.worldwidedanceparty.com/about.html\">World Wide Dance Party\u003c/a>, an ongoing forum for mixing up a global array of celebratory styles, Magid embraces tradition by re-imaging sounds for tomorrow.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are few things more exciting than watching young (or not so young) musicians find their voices. The sound of discovery shines out of every track on “\u003ca href=\"http://ridgewayrecords.net/opaluna-2/\">Opaluna\u003c/a>” (Ridgeway Records), the eponymous new album by two 20-something musicians, the Colombian-born vocalist \u003ca href=\"http://www.susanapineda.com/opaluna\">Susana Pineda\u003c/a> and Bay Area guitarist Luis Salcedo.\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/283269973&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/283269973'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Pineda hails from Medellin and decided to study in the U.S. with the encouragement of her mentor, \u003ca href=\"https://www.youtube.com/watch?v=XGm-6-ewoH0\">Claudia Gomez\u003c/a>, who was a major force in the Bay Area Latin music scene in the 1980s and '90s before moving back to Colombia. Pineda and Salcedo met at the\u003ca href=\"http://cjc.edu/\" target=\"_blank\"> California Jazz Conservatory\u003c/a> in Berkeley, and they’ve honed a gorgeous roots-meets-21\u003csup>st \u003c/sup>century sound filtered through their love of jazz.\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-full wp-image-11089942\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/Opaluna_COVER.jpg\" alt=\"Opaluna_COVER\" width=\"395\" height=\"367\">\u003c/p>\n\u003cp>Salcedo is an accomplished guitarist who creates intricately latticed settings for Pineda’s gleaming vocals, breathing new life into the classic bolero \"\u003ca href=\"https://www.youtube.com/watch?v=Phc3_YNBR6U&index=5&list=PLQ44iCsZHimRcAsbh33C8-d9r0YWu28dj\">Dos Gardenias.\u003c/a>\" They're joined on several tracks by percussion maestro \u003ca href=\"http://johnsantos.com\">John Santos\u003c/a> and \u003ca href=\"http://www.jeffdenson.com\">bassist Jeff Denson\u003c/a>, who produced the album (and founded and runs \u003ca href=\"http://ridgewayrecords.net\">Ridgeway Records\u003c/a>). Their originals are consistently winsome and winning, but I particularly loved their arrangement of “Mahjong” (with Santos) that foregrounds the folkloric melodic core of Wayne Shorter’s cosmic harmonies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Opaluna draws on samba and psychedelia, Afro-Caribbean rhythms and an array of folk traditions. Another highlight is “Baile de Opuestos,” a musical translation of Frank Loesser’s “Inchworm” set to a Colombian joropo rhythm. Fresh and endearingly earnest, Opaluna creates jazz with a Latin-American sensibility all their own.\u003c/p>\n\u003cp>Recent graduates aren’t the only players branching out into new territory. One of my favorite new albums is Oakland folk singer \u003ca href=\"http://www.aireeneespiritu.com\">Aireene Espiritu’s\u003c/a> “Back Where I Belong,” a project focusing on songs by or associated with Bay Area R&B great \u003ca href=\"https://en.wikipedia.org/wiki/Sugar_Pie_DeSanto\">Sugar Pie DeSanto\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11089943\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/Aireene-Espiritu-800x803.jpg\" alt=\"Aireene Espiritu\" width=\"800\" height=\"803\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-800x803.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-400x401.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu.jpg 870w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>It’s one of four new roots-music-with-a-twist projects released by the pianist Jim Pugh’s \u003ca href=\"http://littlevillagefoundation.com\">Little Village Foundation\u003c/a>. The CD that’s gotten the lion’s share of attention, not undeservedly, is Indian-born blues harmonica player Aki Kumar’s “\u003ca href=\"http://littlevillagefoundation.com/artists/aki-kumar/\">Aki Goes to Bollywood\u003c/a>.” But the Philippine-born Espiritu’s tribute to the great Filipina R&B singer who recorded for Chess Records in the 1960s is similarly head-turning, with arrangements filtered through her love of American roots music.\u003c/p>\n\u003cp>Backed by a top-shelf band led by Norwegian-born guitarist and \u003ca href=\"http://thehub.musiciansfriend.com/art-of-sound/the-art-of-sound-a-conversation-with-producer-christoffer-kid-andersen\">producer Kid Andersen\u003c/a> (who recorded the project in his \u003ca href=\"https://www.facebook.com/Greaseland/\">Greaseland Studios\u003c/a> in San Jose), Espiritu plays tenor ukulele and belts out songs in an array of styles. She sings spirituals, Motown, blues, R&B and even covers several songs associated with Pinoy rock\u003ca href=\"https://en.wikipedia.org/wiki/Freddie_Aguilar\"> icon Freddie Aguilar\u003c/a>, infusing Philippine standards with Oakland soul. But at the heart of the album is DeSanto, who wrote some great tunes. Espiritu delivers her “Going Back Where I Belong” with total conviction, and lets her wicked side out on “Witch For a Night.” But my favorite track is her aching version of “My Illusions,” an overlooked b-side from a 1970 DeSanto single.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11089944\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/Album-Cover--800x800.jpg\" alt=\"Album Cover -\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover-.jpg 1503w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Finally, Bay Area \u003ca href=\"http://www.willmagid.com\">multi-instrumentalist Will Magid\u003c/a> delivers an intoxicating dose of orchestral space-age soul on his new album “Alligator Spacewalk.” Featuring an expansive ensemble with strings and brass, the album is most interesting when Magid unleashes \u003ca href=\"http://sharlottegibson.com\">Sharlotte Gibson\u003c/a>, a powerhouse vocalist who sounds gloriously regal on “The Crown” and “Sweet Something.” Best known as the longtime ringleader of the \u003ca href=\"http://www.worldwidedanceparty.com/about.html\">World Wide Dance Party\u003c/a>, an ongoing forum for mixing up a global array of celebratory styles, Magid embraces tradition by re-imaging sounds for tomorrow.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Blowin' the Blues Bollywood-Style with Aki Kumar",
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"content": "\u003cp>Meet San Jose musician Aki Kumar today, and he’ll proudly introduce himself as “The Only Bombay Blues Man.”\u003c/p>\n\u003cp>But there was a time when Kumar, while making a name for himself on the Bay Area blues scene more than a decade ago, would intentionally downplay his Indian heritage. He wasn’t so forthright about immigrating from Bombay — now called Mumbai, and one of the world’s largest exporters of software engineers to the U.S. — to find a new life in America as a software engineer.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/282764971″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“I wanted to make a statement that I was a traditional blues man, so I wanted to be playing blues and have nobody even wonder where I came from,” says Kumar, 36, frontman and harmonica player for the Aki Kumar Blues Band.\u003c/p>\n\u003cfigure id=\"attachment_11979572\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11979572\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/aki-front.jpg\" alt=\"The cover for 'Aki Goes to Bollywood' pays tribute to classic Indian cinema poster design.\" width=\"600\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-400x403.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-596x600.jpg 596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The cover for ‘Aki Goes to Bollywood’ pays tribute to classic Indian cinema poster design.\u003c/figcaption>\u003c/figure>\n\u003cp>But after more than a decade of playing with top-notch blues musicians and recording a rock-solid first album \u003cem>Don’t Hold Back\u003c/em> (which garnered widespread accolades from the \u003cem>Los Angeles Times\u003c/em> to Dan Aykroyd), Kumar is taking his love for the blues to unexpected places.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This month, he released his second album, \u003cem>Aki Goes to Bollywood\u003c/em>, a stylistic mashup of old songs from Indian blockbuster films of his childhood with Chicago-style blues. “It’s Mumbai meets Muddy Waters,” says Kumar, who reworked Hindi-language hits from big names in Indian pop music — Kishore Kumar, Mohammed Rafi, and Mukesh — and made them his own.\u003c/p>\n\u003cp>American blues fans are used to seeing their music evolve and take on new forms, but back home in India, Kumar notes, musical culture isn’t so malleable. As he worked on the arrangements for \u003cem>Aki Goes to Bollywood\u003c/em>, Kumar nervously sent rough mixes back home to his parents, both still living in India, whose love of music Kumar credits for planting the seeds of his musical career.\u003c/p>\n\u003cp>“It was terrifying in some ways. These songs are national treasures in India, sung by legends,” says Kumar. “But I think we pulled it off, and for me, it was the coming together of the music I discovered in the U.S. and my musical roots growing up.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Aki Goes to Bollywood’ is \u003ca href=\"http://www.akikumar.com/store\" target=\"_blank\" rel=\"noopener\">out now\u003c/a>. Kumar also hosts a weekly blues jam session on Thursday nights at \u003ca href=\"http://littlelousbbq.com/\" target=\"_blank\" rel=\"noopener\">Little Lou’s BBQ\u003c/a> in Campbell. For more, see \u003ca href=\"http://www.akikumar.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Meet San Jose musician Aki Kumar today, and he’ll proudly introduce himself as “The Only Bombay Blues Man.”\u003c/p>\n\u003cp>But there was a time when Kumar, while making a name for himself on the Bay Area blues scene more than a decade ago, would intentionally downplay his Indian heritage. He wasn’t so forthright about immigrating from Bombay — now called Mumbai, and one of the world’s largest exporters of software engineers to the U.S. — to find a new life in America as a software engineer.\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/282764971″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/282764971″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I wanted to make a statement that I was a traditional blues man, so I wanted to be playing blues and have nobody even wonder where I came from,” says Kumar, 36, frontman and harmonica player for the Aki Kumar Blues Band.\u003c/p>\n\u003cfigure id=\"attachment_11979572\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11979572\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/aki-front.jpg\" alt=\"The cover for 'Aki Goes to Bollywood' pays tribute to classic Indian cinema poster design.\" width=\"600\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-400x403.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-596x600.jpg 596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The cover for ‘Aki Goes to Bollywood’ pays tribute to classic Indian cinema poster design.\u003c/figcaption>\u003c/figure>\n\u003cp>But after more than a decade of playing with top-notch blues musicians and recording a rock-solid first album \u003cem>Don’t Hold Back\u003c/em> (which garnered widespread accolades from the \u003cem>Los Angeles Times\u003c/em> to Dan Aykroyd), Kumar is taking his love for the blues to unexpected places.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This month, he released his second album, \u003cem>Aki Goes to Bollywood\u003c/em>, a stylistic mashup of old songs from Indian blockbuster films of his childhood with Chicago-style blues. “It’s Mumbai meets Muddy Waters,” says Kumar, who reworked Hindi-language hits from big names in Indian pop music — Kishore Kumar, Mohammed Rafi, and Mukesh — and made them his own.\u003c/p>\n\u003cp>American blues fans are used to seeing their music evolve and take on new forms, but back home in India, Kumar notes, musical culture isn’t so malleable. As he worked on the arrangements for \u003cem>Aki Goes to Bollywood\u003c/em>, Kumar nervously sent rough mixes back home to his parents, both still living in India, whose love of music Kumar credits for planting the seeds of his musical career.\u003c/p>\n\u003cp>“It was terrifying in some ways. These songs are national treasures in India, sung by legends,” says Kumar. “But I think we pulled it off, and for me, it was the coming together of the music I discovered in the U.S. and my musical roots growing up.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Aki Goes to Bollywood’ is \u003ca href=\"http://www.akikumar.com/store\" target=\"_blank\" rel=\"noopener\">out now\u003c/a>. Kumar also hosts a weekly blues jam session on Thursday nights at \u003ca href=\"http://littlelousbbq.com/\" target=\"_blank\" rel=\"noopener\">Little Lou’s BBQ\u003c/a> in Campbell. For more, see \u003ca href=\"http://www.akikumar.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "New Jazz Releases Bring Brazil to California",
"title": "New Jazz Releases Bring Brazil to California",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>All the excitement of the Summer Olympics in Rio got me thinking about the long history of Brazilian music in California.\u003c/p>\n\u003cp>In the 1940s, \u003ca href=\"https://www.youtube.com/watch?v=KHJLm6WNEv4\">Carmen Miranda\u003c/a> landed in Hollywood with her \u003ca href=\"https://www.youtube.com/watch?v=jVnOVT1LRe0\">Bando da Lua\u003c/a>, and Brazilian music hit the pop charts the early 1960s, when Americans took to the bossa nova.\u003c/p>\n\u003cp>The great \u003ca href=\"https://www.youtube.com/watch?v=VlHizjw3s5E\">composer Moacir Santos\u003c/a> set out for Hollywood in the late 1960s hoping to build a career writing film scores, which didn’t pan out, but led to several classic albums for Blue Note Records. \u003ca href=\"https://www.youtube.com/watch?v=BrZBiqK0p9E\">Sergio Mendes\u003c/a> had much better luck recasting Brazilian and American pop hits with Brasil ’66, and \u003ca href=\"https://www.youtube.com/watch?v=PExw_UxX4YY\">Flora Purim and Airto\u003c/a> became minor pop stars in the ‘70s with their soaring Brazilian jazz.\u003c/p>\n\u003cp>These days, many Brazilian musicians call California home, including guitarist Sergio Assad. Assad is best known as half of classical music’s most celebrated \u003ca href=\"https://www.youtube.com/watch?v=n4vpqjQ8Cuo\">guitar duo\u003c/a> (with his younger brother Odair), but his gorgeous new album \"Relíquia\" (Adventure Music) introduces a new familial partnership. His daughter \u003ca href=\"http://www.clariceassad.com\">Clarice Assad\u003c/a> is a fiercely creatively vocalist, pianist and \u003ca href=\"https://www.youtube.com/watch?v=nGPg0N-oUNc\">oft-commissioned composer\u003c/a> whose work has been performed by major symphonies and chamber ensembles around the world.\u003c/p>\n\u003cp>Sergio has lived in San Francisco since 2008, when he joined the faculty at the San Francisco Conservatory, while Clarice, who’s based in Chicago, has long worked closely with San Francisco’s \u003ca href=\"http://ncco.org\">New Century Chamber Orchestra\u003c/a> as a composer in residence, arranger and orchestrator. A love letter of an album, \"Relíquia\" is full of ravishing melodies that often feel hauntingly familiar, only to resolve with an unanticipated twist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sergio composed most of the songs, working with an array of top-shelf lyricists like Daniel Basilio (on the dreamy “Artistico”), who’s collaborated with Clarice on several song cycles, and Chico Cesar, on what should be a new standard, the surging “Capoeira.” In many ways, the album feels like a rapprochement. Music took Sergio away from his family when Clarice was growing up as he toured internationally. \"Reliquia\" brings them together as equals, with a cast of collaborators that includes clarinetist Derek Bermel, percussionist Keita Ogawa, bassist Yasushi Nakamura, vocalist Angela Olinto and mandolin master Mike Marshall on the title track. If the project has an emotional centerpiece, it’s Clarice’s brief, luminous tune, “Song For My Father.”\u003c/p>\n\u003cp>\u003cimg class=\"size-medium wp-image-11048952\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/Allison-Adams-Tucker-82718-800x727.jpg\" width=\"800\" height=\"727\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/Allison-Adams-Tucker-82718-800x727.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Allison-Adams-Tucker-82718-400x364.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Allison-Adams-Tucker-82718-1180x1073.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Allison-Adams-Tucker-82718-960x873.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Allison-Adams-Tucker-82718.jpg 1650w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Clarice is known for singing in French, Italian and English, in addition to Portuguese. San Diego jazz vocalist \u003ca href=\"http://allisonadamstucker.com\">Allison Adams Tucker \u003c/a>is also something of an expert in multilingual music. Her new album \"WANDERlust\" (Origin Records) features songs in six languages, and she’s convincing in each one. A celebration of her love of travel and far-flung musical passions, the album opens with Cy Coleman and Carolyn Leigh’s “When In Rome,” which is kind of perfect, given her chameleon like powers.\u003c/p>\n\u003cp>She recorded the album in New York, and \"WANDERlust\" features an international cast of jazz stars including saxophonist Chris Potter, drummer Antonio Sanchez, bassist Scott Colley, guitarist Stéphane Wrembel and the great Brazilian guitarist Romero Lubambo, who supplies the supple bossa nova pulse on his arrangement of Jobim’s “Águas de Março.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This is Tucker’s third album, and it really feels like she’s stepping into the big leagues. She covers a wide range of material with authority and intelligence, from Piazzolla’s “Vuelvo al Sur” and Morricone’s “Cinema Paradiso” to \"Better Days Ahead,\" a Pat Metheny tune featuring her wordless vocals. Like the best travel companions, Tucker coaxes you to experience things in new ways, like on the title track, a gorgeous arrangement of Björk's “Wanderlust” by pianist Josh Nelson. Hopefully there are many more travels in Tucker’s future.\u003c/p>\n\n",
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"excerpt": "Andrew Gilbert explores the musical connection between Brazil and California in two new jazz albums. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>All the excitement of the Summer Olympics in Rio got me thinking about the long history of Brazilian music in California.\u003c/p>\n\u003cp>In the 1940s, \u003ca href=\"https://www.youtube.com/watch?v=KHJLm6WNEv4\">Carmen Miranda\u003c/a> landed in Hollywood with her \u003ca href=\"https://www.youtube.com/watch?v=jVnOVT1LRe0\">Bando da Lua\u003c/a>, and Brazilian music hit the pop charts the early 1960s, when Americans took to the bossa nova.\u003c/p>\n\u003cp>The great \u003ca href=\"https://www.youtube.com/watch?v=VlHizjw3s5E\">composer Moacir Santos\u003c/a> set out for Hollywood in the late 1960s hoping to build a career writing film scores, which didn’t pan out, but led to several classic albums for Blue Note Records. \u003ca href=\"https://www.youtube.com/watch?v=BrZBiqK0p9E\">Sergio Mendes\u003c/a> had much better luck recasting Brazilian and American pop hits with Brasil ’66, and \u003ca href=\"https://www.youtube.com/watch?v=PExw_UxX4YY\">Flora Purim and Airto\u003c/a> became minor pop stars in the ‘70s with their soaring Brazilian jazz.\u003c/p>\n\u003cp>These days, many Brazilian musicians call California home, including guitarist Sergio Assad. Assad is best known as half of classical music’s most celebrated \u003ca href=\"https://www.youtube.com/watch?v=n4vpqjQ8Cuo\">guitar duo\u003c/a> (with his younger brother Odair), but his gorgeous new album \"Relíquia\" (Adventure Music) introduces a new familial partnership. His daughter \u003ca href=\"http://www.clariceassad.com\">Clarice Assad\u003c/a> is a fiercely creatively vocalist, pianist and \u003ca href=\"https://www.youtube.com/watch?v=nGPg0N-oUNc\">oft-commissioned composer\u003c/a> whose work has been performed by major symphonies and chamber ensembles around the world.\u003c/p>\n\u003cp>Sergio has lived in San Francisco since 2008, when he joined the faculty at the San Francisco Conservatory, while Clarice, who’s based in Chicago, has long worked closely with San Francisco’s \u003ca href=\"http://ncco.org\">New Century Chamber Orchestra\u003c/a> as a composer in residence, arranger and orchestrator. A love letter of an album, \"Relíquia\" is full of ravishing melodies that often feel hauntingly familiar, only to resolve with an unanticipated twist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sergio composed most of the songs, working with an array of top-shelf lyricists like Daniel Basilio (on the dreamy “Artistico”), who’s collaborated with Clarice on several song cycles, and Chico Cesar, on what should be a new standard, the surging “Capoeira.” In many ways, the album feels like a rapprochement. Music took Sergio away from his family when Clarice was growing up as he toured internationally. \"Reliquia\" brings them together as equals, with a cast of collaborators that includes clarinetist Derek Bermel, percussionist Keita Ogawa, bassist Yasushi Nakamura, vocalist Angela Olinto and mandolin master Mike Marshall on the title track. If the project has an emotional centerpiece, it’s Clarice’s brief, luminous tune, “Song For My Father.”\u003c/p>\n\u003cp>\u003cimg class=\"size-medium wp-image-11048952\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/Allison-Adams-Tucker-82718-800x727.jpg\" width=\"800\" height=\"727\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/Allison-Adams-Tucker-82718-800x727.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Allison-Adams-Tucker-82718-400x364.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Allison-Adams-Tucker-82718-1180x1073.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Allison-Adams-Tucker-82718-960x873.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Allison-Adams-Tucker-82718.jpg 1650w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Clarice is known for singing in French, Italian and English, in addition to Portuguese. San Diego jazz vocalist \u003ca href=\"http://allisonadamstucker.com\">Allison Adams Tucker \u003c/a>is also something of an expert in multilingual music. Her new album \"WANDERlust\" (Origin Records) features songs in six languages, and she’s convincing in each one. A celebration of her love of travel and far-flung musical passions, the album opens with Cy Coleman and Carolyn Leigh’s “When In Rome,” which is kind of perfect, given her chameleon like powers.\u003c/p>\n\u003cp>She recorded the album in New York, and \"WANDERlust\" features an international cast of jazz stars including saxophonist Chris Potter, drummer Antonio Sanchez, bassist Scott Colley, guitarist Stéphane Wrembel and the great Brazilian guitarist Romero Lubambo, who supplies the supple bossa nova pulse on his arrangement of Jobim’s “Águas de Março.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This is Tucker’s third album, and it really feels like she’s stepping into the big leagues. She covers a wide range of material with authority and intelligence, from Piazzolla’s “Vuelvo al Sur” and Morricone’s “Cinema Paradiso” to \"Better Days Ahead,\" a Pat Metheny tune featuring her wordless vocals. Like the best travel companions, Tucker coaxes you to experience things in new ways, like on the title track, a gorgeous arrangement of Björk's “Wanderlust” by pianist Josh Nelson. Hopefully there are many more travels in Tucker’s future.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"order": 9
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"id": "fresh-air",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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. ",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"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",
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"source": "American Public Media"
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"masters-of-scale": {
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"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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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
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"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>",
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"meta": {
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"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.",
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"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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"order": 11
},
"link": "/podcasts/onourwatch",
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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",
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},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"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"
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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