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"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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"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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"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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"disqusTitle": "L.A. Philharmonic’s Gustavo Dudamel on Connecting Kids to Classical Music",
"title": "L.A. Philharmonic’s Gustavo Dudamel on Connecting Kids to Classical Music",
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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. 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>\u003c/p>\u003c/div>",
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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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"description": "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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"title": "Marin Alsop Quits Cabrillo, Continues Fight for Women Conductors",
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"content": "\u003cp>Female conductors are about as rare on the podium as they are running Silicon Valley companies. Women make up less than a fifth of the country’s music directors, conductors, and assistant conductors. And cracking into the upper echelon of name-brand orchestras and festivals has proved difficult.\u003c/p>\n\u003cp>As recently as 2007, \u003ca href=\"http://www.marinalsop.com/\" target=\"_blank\" rel=\"noopener\">Marin Alsop\u003c/a> became the first woman to head a major symphony in the US, in Baltimore. In 2013, she became the first woman to conduct the lauded Last Night at the Proms in London. And according to the \u003ca href=\"http://www.americanorchestras.org/\" target=\"_blank\" rel=\"noopener\">League of American Orchestras\u003c/a>, a national service organization for symphonies, Alsop’s still the only woman music director in the top 24.\u003c/p>\n\u003cp>This year, at the age of 59, the conductor takes her final bow after 25 years of running the \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">Cabrillo Festival of Contemporary Music\u003c/a> in Santa Cruz, one of the world’s most esteemed events for music by living composers.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/277832908″ 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>Alsop says she’s leaving the Cabrillo Festival because she has a lot on her plate and feels the organization and annual event could use a fresh aesthetic. That’s even though ticket sales are stronger than they’ve ever been. “You’d almost think, ‘Well, why don’t you stay then, if it’s so great?'” Alsop says. “But that’s the moment to pass it on.” The festival’s board of directors has yet to name a successor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Why are there so few women on the podium?\u003c/strong>\u003c/p>\n\u003cp>“You have to look at the world as it is in order to change it,” Alsop says about her experience in the field. When she walks onstage and raises her baton, Alsop says she knows she’s going to be judged by everyone – in the orchestra and in the audience – through a host of unconscious biases. “When a woman is really strong and gives a big downbeat, big chord, the immediate response is ‘Whoa! Look out!’ When a man does that, he’s strong and powerful.”\u003c/p>\n\u003cp>Though she’s leaving the Cabrillo Festival, Alsop isn’t retiring. In addition to her position as the Baltimore Symphony’s music director, Alsop travels the globe to undertake a host of other high profile gigs. She’s principal conductor of the \u003ca href=\"http://www.osesp.art.br/home.aspx\" target=\"_blank\" rel=\"noopener\">São Paulo Symphony\u003c/a> in Brazil, and director of the Graduate Conducting Program at the \u003ca href=\"http://www.peabody.jhu.edu/conservatory/conducting/orchconducting/\" target=\"_blank\" rel=\"noopener\">Peabody Institute\u003c/a> in Baltimore. She is also a frequent guest conductor, including at the \u003ca href=\"http://www.bbc.co.uk/proms\" target=\"_blank\" rel=\"noopener\">BBC Proms\u003c/a>, and a regular classical music commentator on \u003ca href=\"http://www.npr.org/series/7302443/marin-alsop-on-music\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11896929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11896929\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut-800x450.jpg\" alt='Composer John Adams says there’s a lot in Marin Alsop that recalls her mentor Leonard Bernstein, a great popularizer of classical music. \"She always speaks before each performance of a new piece and sets a tone of adventure, a tone of excitement, and a kind of intimate connection between the listener and the performer.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer John Adams says there’s a lot in Marin Alsop that recalls her mentor Leonard Bernstein, a great popularizer of classical music. “She always speaks before each performance of a new piece and sets a tone of adventure, a tone of excitement, and a kind of intimate connection between the listener and the performer.” \u003ccite>(Photo: Courtesy of the Cabrillo Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jesse Rosen, President and CEO of the League of American Orchestras, has followed Alsop’s career from its start in New York in the 1980s. “You know, she’s got a lot of grit, and a lot of conviction,” Rosen says. “She figured out how to be a musical leader in today’s world.”\u003c/p>\n\u003cp>\u003cstrong>Expanding the audience for classical music\u003c/strong>\u003c/p>\n\u003cp>Alsop has launched a number of programs aimed at growing audiences for contemporary classical music by serving people beyond the traditional subscriber base. There’s \u003ca href=\"http://www.bsomusic.org/education-community/young-musicians/orchkids.aspx\">OrchKids\u003c/a>, which brings free lessons to low-income school children in Baltimore; and \u003ca href=\"https://www.bsomusic.org/education-community/programs-for-adults/academy-programs/rusty-musicians.aspx\" target=\"_blank\" rel=\"noopener\">Rusty Musicians\u003c/a>, offering amateur players the chance to reignite their passion by playing with professionals.\u003c/p>\n\u003cfigure id=\"attachment_11897048\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11897048\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-400x603.jpg\" alt='Marin Alsop and composer John Adams, who says \"Marin has been a great champion of my music, but I’m just one of hundreds of composers that she’s taken an interest in.\"' width=\"200\" height=\"302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-400x603.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-782x1180.jpg 782w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-1180x1780.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-960x1448.jpg 960w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Marin Alsop and composer John Adams, who says “Marin has been a great champion of my music, but I’m just one of hundreds of composers that she’s taken an interest in.” \u003ccite>(Photo: Courtesy of rr jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’s also worked hard to make contemporary classical music — often cerebral and atonal perceived as a challenging genre for listeners — accessible to audiences. At Cabrillo, Alsop has made a point of choosing work from composers with varied backgrounds and approaches, from the Scottish composer James MacMillan, whose ear-tingling harmonies are deeply influenced by Catholic mysticism, to Bay Area-based composer Mason Bates’ electronica DJ-inspired works. “I try to stretch myself and bring a real variety to my audiences,” Alsop says.\u003c/p>\n\u003cp>Though the festival’s offerings are broad, Alsop isn’t shy about declaring her own personal musical tastes. “I’m drawn to music that’s extraordinarily rhythmic, that’s very propulsive,” she says.\u003c/p>\n\u003cp>No wonder then that John Adams, the beloved Bay Area composer best known for works like the opera \u003cem>Nixon in China \u003c/em>and \u003cem>On The Transmigration of Souls\u003c/em>\u003ci>,\u003c/i> Adams’ choral masterpiece written in honor of the victims who died in the Sep. 11 attacks on the World Trade Center, is a friend and regular in Santa Cruz. Rooted in minimalism, Adams’ music is nothing if not driven by rhythmic brilliance. Cabrillo has presented 15 works by Adams over the years, including several premieres.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"First woman to conduct Last Night of the Proms American Marin Alsop\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/yVP8CJzVe5U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>For Alsop’s final season at Cabrillo, which runs Friday, Aug. 5 – Saturday, Aug. 13, the musicians of the Cabrillo Festival Orchestra commissioned a piece from Adams specially for Alsop. The much-in-demand composer is in the middle of writing an opera about the Gold Rush. So he chose a colorful, real-life character from that period in California history — the then-famous actress and dancer Lola Montez — as the inspiration for his piece for Alsop, \u003cem>Lola Montez Does The Spider Dance\u003c/em>. “It’s funny and a little bit outrageous and provocative,” Adams says of the work. “I hope I was able to capture that sense in this piece for Marin.”\u003c/p>\n\u003cp>[contextly_sidebar id=”FGw8yaucqVCD9RqqoO2nWXqVDUetwXDA”]\u003cstrong>Opening doors for women\u003c/strong>\u003c/p>\n\u003cp>The general environment for female classical musicians has improved since Alsop was starting out. In the 1980s, very few women held down jobs in professional symphony orchestras. Today, half of the musicians are female, but women still face entrenched stereotypes about what positions are appropriate for them to occupy.\u003c/p>\n\u003cp>\u003ca href=\"http://www.music.msu.edu/faculty/profile/ava\" target=\"_blank\" rel=\"noopener\">Ava Ordman\u003c/a> is principal trombonist at Cabrillo, when she’s not teaching at Michigan State or playing for the Lansing Symphony. “In some respects, we share a similar position,” Ordman says. “I’m in my 60s, and when I was growing up, there were no women trombonists.”\u003c/p>\n\u003cp>Ordman adds, “Marin is a role model, not just to women conductors, but to all who are doing jobs that are traditionally dominated by men.”\u003c/p>\n\u003cp>Men still dominate, especially in the realm of top-tier orchestras. According to the \u003ca href=\"http://www.americanorchestras.org/\" target=\"_blank\" rel=\"noopener\">League of American Orchestras\u003c/a>, women comprise only 11.2 percent of all music directors working today.\u003c/p>\n\u003cp>To help change this landscape, Alsop established the \u003ca href=\"http://takiconcordia.org/\" target=\"_blank\" rel=\"noopener\">Taki Concordia Conducting Fellowship \u003c/a>in 2002 to support the education and promotion of maestras near the beginning of their professional conducting careers, when they’re most likely to give up in frustration. Alumni of the fellowship typically go on to earn impressive credentials, like Carolyn Kuan, who is the music director at the Hartford Symphony Orchestra and has served as a guest conductor for organizations as the San Francisco Symphony and the New York City Opera.\u003c/p>\n\u003cp>But Alsop says there is a long way to go before women achieve parity with men on the podium. “I have a concern that after a few women are successful, people will say, “Well, we ticked that box, and so we’ll go back to our other plan, that we’ve been doing for a couple hundred years!'” Alsop says. “So I think we’ll just have to keep pushing.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Cabrillo Festival runs Friday, Aug. 5 through Saturday, Aug. 13. More information \u003cstrong>\u003ca href=\"http://www.cabrillomusic.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "As the trailblazing female conductor leads her last season as music director of the Cabrillo Festival, a position she's held for 25 years, we look at Alsop's legacy as a powerful woman in the male-dominated world of classical music",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Female conductors are about as rare on the podium as they are running Silicon Valley companies. Women make up less than a fifth of the country’s music directors, conductors, and assistant conductors. And cracking into the upper echelon of name-brand orchestras and festivals has proved difficult.\u003c/p>\n\u003cp>As recently as 2007, \u003ca href=\"http://www.marinalsop.com/\" target=\"_blank\" rel=\"noopener\">Marin Alsop\u003c/a> became the first woman to head a major symphony in the US, in Baltimore. In 2013, she became the first woman to conduct the lauded Last Night at the Proms in London. And according to the \u003ca href=\"http://www.americanorchestras.org/\" target=\"_blank\" rel=\"noopener\">League of American Orchestras\u003c/a>, a national service organization for symphonies, Alsop’s still the only woman music director in the top 24.\u003c/p>\n\u003cp>This year, at the age of 59, the conductor takes her final bow after 25 years of running the \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">Cabrillo Festival of Contemporary Music\u003c/a> in Santa Cruz, one of the world’s most esteemed events for music by living composers.\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/277832908″&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/277832908″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Alsop says she’s leaving the Cabrillo Festival because she has a lot on her plate and feels the organization and annual event could use a fresh aesthetic. That’s even though ticket sales are stronger than they’ve ever been. “You’d almost think, ‘Well, why don’t you stay then, if it’s so great?'” Alsop says. “But that’s the moment to pass it on.” The festival’s board of directors has yet to name a successor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Why are there so few women on the podium?\u003c/strong>\u003c/p>\n\u003cp>“You have to look at the world as it is in order to change it,” Alsop says about her experience in the field. When she walks onstage and raises her baton, Alsop says she knows she’s going to be judged by everyone – in the orchestra and in the audience – through a host of unconscious biases. “When a woman is really strong and gives a big downbeat, big chord, the immediate response is ‘Whoa! Look out!’ When a man does that, he’s strong and powerful.”\u003c/p>\n\u003cp>Though she’s leaving the Cabrillo Festival, Alsop isn’t retiring. In addition to her position as the Baltimore Symphony’s music director, Alsop travels the globe to undertake a host of other high profile gigs. She’s principal conductor of the \u003ca href=\"http://www.osesp.art.br/home.aspx\" target=\"_blank\" rel=\"noopener\">São Paulo Symphony\u003c/a> in Brazil, and director of the Graduate Conducting Program at the \u003ca href=\"http://www.peabody.jhu.edu/conservatory/conducting/orchconducting/\" target=\"_blank\" rel=\"noopener\">Peabody Institute\u003c/a> in Baltimore. She is also a frequent guest conductor, including at the \u003ca href=\"http://www.bbc.co.uk/proms\" target=\"_blank\" rel=\"noopener\">BBC Proms\u003c/a>, and a regular classical music commentator on \u003ca href=\"http://www.npr.org/series/7302443/marin-alsop-on-music\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11896929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11896929\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut-800x450.jpg\" alt='Composer John Adams says there’s a lot in Marin Alsop that recalls her mentor Leonard Bernstein, a great popularizer of classical music. \"She always speaks before each performance of a new piece and sets a tone of adventure, a tone of excitement, and a kind of intimate connection between the listener and the performer.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer John Adams says there’s a lot in Marin Alsop that recalls her mentor Leonard Bernstein, a great popularizer of classical music. “She always speaks before each performance of a new piece and sets a tone of adventure, a tone of excitement, and a kind of intimate connection between the listener and the performer.” \u003ccite>(Photo: Courtesy of the Cabrillo Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jesse Rosen, President and CEO of the League of American Orchestras, has followed Alsop’s career from its start in New York in the 1980s. “You know, she’s got a lot of grit, and a lot of conviction,” Rosen says. “She figured out how to be a musical leader in today’s world.”\u003c/p>\n\u003cp>\u003cstrong>Expanding the audience for classical music\u003c/strong>\u003c/p>\n\u003cp>Alsop has launched a number of programs aimed at growing audiences for contemporary classical music by serving people beyond the traditional subscriber base. There’s \u003ca href=\"http://www.bsomusic.org/education-community/young-musicians/orchkids.aspx\">OrchKids\u003c/a>, which brings free lessons to low-income school children in Baltimore; and \u003ca href=\"https://www.bsomusic.org/education-community/programs-for-adults/academy-programs/rusty-musicians.aspx\" target=\"_blank\" rel=\"noopener\">Rusty Musicians\u003c/a>, offering amateur players the chance to reignite their passion by playing with professionals.\u003c/p>\n\u003cfigure id=\"attachment_11897048\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11897048\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-400x603.jpg\" alt='Marin Alsop and composer John Adams, who says \"Marin has been a great champion of my music, but I’m just one of hundreds of composers that she’s taken an interest in.\"' width=\"200\" height=\"302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-400x603.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-782x1180.jpg 782w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-1180x1780.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-960x1448.jpg 960w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Marin Alsop and composer John Adams, who says “Marin has been a great champion of my music, but I’m just one of hundreds of composers that she’s taken an interest in.” \u003ccite>(Photo: Courtesy of rr jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’s also worked hard to make contemporary classical music — often cerebral and atonal perceived as a challenging genre for listeners — accessible to audiences. At Cabrillo, Alsop has made a point of choosing work from composers with varied backgrounds and approaches, from the Scottish composer James MacMillan, whose ear-tingling harmonies are deeply influenced by Catholic mysticism, to Bay Area-based composer Mason Bates’ electronica DJ-inspired works. “I try to stretch myself and bring a real variety to my audiences,” Alsop says.\u003c/p>\n\u003cp>Though the festival’s offerings are broad, Alsop isn’t shy about declaring her own personal musical tastes. “I’m drawn to music that’s extraordinarily rhythmic, that’s very propulsive,” she says.\u003c/p>\n\u003cp>No wonder then that John Adams, the beloved Bay Area composer best known for works like the opera \u003cem>Nixon in China \u003c/em>and \u003cem>On The Transmigration of Souls\u003c/em>\u003ci>,\u003c/i> Adams’ choral masterpiece written in honor of the victims who died in the Sep. 11 attacks on the World Trade Center, is a friend and regular in Santa Cruz. Rooted in minimalism, Adams’ music is nothing if not driven by rhythmic brilliance. Cabrillo has presented 15 works by Adams over the years, including several premieres.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"First woman to conduct Last Night of the Proms American Marin Alsop\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/yVP8CJzVe5U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>For Alsop’s final season at Cabrillo, which runs Friday, Aug. 5 – Saturday, Aug. 13, the musicians of the Cabrillo Festival Orchestra commissioned a piece from Adams specially for Alsop. The much-in-demand composer is in the middle of writing an opera about the Gold Rush. So he chose a colorful, real-life character from that period in California history — the then-famous actress and dancer Lola Montez — as the inspiration for his piece for Alsop, \u003cem>Lola Montez Does The Spider Dance\u003c/em>. “It’s funny and a little bit outrageous and provocative,” Adams says of the work. “I hope I was able to capture that sense in this piece for Marin.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003cstrong>Opening doors for women\u003c/strong>\u003c/p>\n\u003cp>The general environment for female classical musicians has improved since Alsop was starting out. In the 1980s, very few women held down jobs in professional symphony orchestras. Today, half of the musicians are female, but women still face entrenched stereotypes about what positions are appropriate for them to occupy.\u003c/p>\n\u003cp>\u003ca href=\"http://www.music.msu.edu/faculty/profile/ava\" target=\"_blank\" rel=\"noopener\">Ava Ordman\u003c/a> is principal trombonist at Cabrillo, when she’s not teaching at Michigan State or playing for the Lansing Symphony. “In some respects, we share a similar position,” Ordman says. “I’m in my 60s, and when I was growing up, there were no women trombonists.”\u003c/p>\n\u003cp>Ordman adds, “Marin is a role model, not just to women conductors, but to all who are doing jobs that are traditionally dominated by men.”\u003c/p>\n\u003cp>Men still dominate, especially in the realm of top-tier orchestras. According to the \u003ca href=\"http://www.americanorchestras.org/\" target=\"_blank\" rel=\"noopener\">League of American Orchestras\u003c/a>, women comprise only 11.2 percent of all music directors working today.\u003c/p>\n\u003cp>To help change this landscape, Alsop established the \u003ca href=\"http://takiconcordia.org/\" target=\"_blank\" rel=\"noopener\">Taki Concordia Conducting Fellowship \u003c/a>in 2002 to support the education and promotion of maestras near the beginning of their professional conducting careers, when they’re most likely to give up in frustration. Alumni of the fellowship typically go on to earn impressive credentials, like Carolyn Kuan, who is the music director at the Hartford Symphony Orchestra and has served as a guest conductor for organizations as the San Francisco Symphony and the New York City Opera.\u003c/p>\n\u003cp>But Alsop says there is a long way to go before women achieve parity with men on the podium. “I have a concern that after a few women are successful, people will say, “Well, we ticked that box, and so we’ll go back to our other plan, that we’ve been doing for a couple hundred years!'” Alsop says. “So I think we’ll just have to keep pushing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Cabrillo Festival runs Friday, Aug. 5 through Saturday, Aug. 13. More information \u003cstrong>\u003ca href=\"http://www.cabrillomusic.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Latin Artists Pay Tribute to CCR on 'Quiero Creedence'",
"title": "Latin Artists Pay Tribute to CCR on 'Quiero Creedence'",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>The East Bay city of El Cerrito is small. It's home to about 24,000 people. But for music fans, it's best known as the birthplace of \u003ca href=\"http://www.rollingstone.com/music/artists/creedence-clearwater-revival/biography\">Creedence Clearwater Revival\u003c/a>.\u003c/p>\n\u003cp>Although the band was together only from 1967 to 1972, CCR's hits were radio staples. Songs like \"Suzie Q,\" \"Bad Moon Rising,\" Fortunate Son,\" \"Green River\" and many others were heard around the world -- and especially beloved in Latin America.\u003c/p>\n\u003cp>\u003cimg class=\"alignleft wp-image-11042520\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-400x400.jpg\" alt=\"RS20589_QueiroCreedence_RGB-qut\" width=\"277\" height=\"277\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut.jpg 635w\" sizes=\"(max-width: 277px) 100vw, 277px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.quierocreedence.com/\">Quiero Creedence\u003c/a>,\u003c/em> a new compilation album of Latin artists covering CCR, has just been released.\u003c/p>\n\u003cp>One of the project's producers is Juan Manuel Caipo, who along with his bandmate, Deuce Eclipse, is also featured on the album with their band, Oakland's \u003ca href=\"http://www.bangdata.com/\">Bang Data\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>How did this project come together?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Juan Manuel Caipo\u003c/strong>: I came up with this idea five years ago. I was in Oakland, grabbing a beer, and I remember hearing Creedence and it just hit me: a tribute album with all these bands from all over the world. The whole idea was to discover new artists, along with the classic artists from all over Latin America.\u003c/p>\n\u003cp>I recall meeting Diana Rodriguez, who’s a partner and executive producer, at the Elbo Room. She’s more of a label person, she worked for EMI Capitol. And I remember going, ‘I have this idea, I want to run it by you,’ and her eyes popped and she said “I love Creedence.” That’s where the conversation started and we just little by little started organically figuring out how we were going to do this.\u003c/p>\n\u003cfigure id=\"attachment_11045100\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11045100\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/EclipseCaipo-800x557.jpg\" alt=\"Deuce Eclipse and Juan Manuel Caipo of the Oakland band Bang Data. Caipo is one of the executive producers of the new compilation 'Quiero Creedence.'\" width=\"800\" height=\"557\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo-800x557.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo-400x279.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo-1180x822.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo-960x669.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deuce Eclipse and Juan Manuel Caipo of the Oakland band Bang Data. Caipo is one of the executive producers of the new compilation 'Quiero Creedence.' \u003ccite>(Suzie Racho/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Were all the artists Creedence fans? Did they come to you and say, ‘I want to do this particular song’?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Caipo\u003c/strong>: We gave them the freedom to choose, but sometimes I would send five songs to one artist, ‘Here’s this list.' And sometimes they wouldn’t even look at that but, for instance, \u003ca href=\"https://twitter.com/LosLobosBand\" target=\"_blank\">Los Lobos\u003c/a>, they picked \"Bootleg.\" I don't think I had never even heard that song. It’s killer and their version is just awesome.\u003c/p>\n\u003cp>\u003ca href=\"http://www.losenanitosverdes.net/\">Los Enanitos Verdes\u003c/a> picked \"Travelin' Band,\" which identifies with them. Those guys tour all the time, all over Latin America. \u003ca href=\"http://ozomatli.com/\" target=\"_blank\">Ozomatli\u003c/a> picked \"Bad Moon Rising.\" The lyrics have a lot to do with what’s going on today. It's prophetic in a way.\u003c/p>\n\u003cp>And then in Bang Data’s case, we always loved that song (\"Fortunate Son\") but no one would pick it! That’s when Deuce and I jumped on it. We said we should probably start working on it before it’s too late!\u003c/p>\n\u003cp>\u003cstrong>Deuce, what did you want to bring to 'Fortunate Son'?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Deuce Eclipse\u003c/strong>: I wanted to honor John Fogerty, which is a really hard thing to do 'cause his voice is such his own instrument. I tried to give it as much soul as I could. I just wanted it to have that kind of feel because really, in the end, it’s real rooted in the culture of America and what was going on at that time during the Vietnam War.\u003c/p>\n\u003cp>And I just wanted to add to it because I feel like today, the lyrics are relevant. And politically this country has gone through a lot and we’re going through a lot right now. So my mind frame going into it was trying to bring it to life again, here in the now, and show people the world hasn’t changed that much, no matter how we look at it. We’re still struggling. We’re still fighting. We’re still at war.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/jjyONEHEOgc?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>There are a lot of different types of music and artists on the record. Do you have a favorite track?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Eclipse\u003c/strong>: Los Lonely Boys is one of my favorites. I heard the actual vocal before anything was done to it. And it was pretty intimidating ‘cause the guy can sing. It was perfect. I really like the \u003ca href=\"http://www.billboard.com/artist/305314/juan-gabriel/biography\">Juan Gabriel \u003c/a>track a lot. It’s such a true little song, it’s really beautiful.\u003c/p>\n\u003cp>\u003cstrong>Caipo\u003c/strong>: That was a big thing and he turned it around so quick. It has this borderline mariachi pop beat from the '70s. It's very smooth.\u003c/p>\n\u003cp>\u003cstrong>Describe Juan Gabriel to those who might not know him.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Caipo\u003c/strong>: He’s a super legend, mega-star songwriter. He’s written songs for everybody since he was 17 years old. You can consider him Mexico’s Prince, his spectrum is so wide. He writes amazing mariachi songs, he’s a producer, pianist, major composer, and he’s known for singing his own compositions. It was the cherry on top for the album. He represents a lot of Mexican culture at an international level.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/tqnfoRXKgLs?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>What do you think the connection is between CCR’s music and the Latino Community?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Caipo\u003c/strong>: I had this feeling from the very beginning, because I lived in Peru, that Creedence was huge all over Latin America.\u003c/p>\n\u003cp>When I moved back to California, I had friends who were Mexican or Salvadorans, they were bumping Creedence. We later found out that the \u003ca href=\"http://www.billboard.com/articles/columns/latin/7445774/quiero-creedence-clearwater-revival-latin-album\">biggest fan base they have is in Mexico\u003c/a>. And whatever happens in Mexico spreads all over South America, too, everything has to do with music. Latinos are rockers; they follow classic rock when stuff started back then.\u003c/p>\n\u003cp>\u003cstrong>Eclipse\u003c/strong>: As a Latino, I can see America had a lot of the groups that Latinos were influenced by. I can see how they were influenced by CCR because you could play it in your garage. The melodies are so easy to catch, you can learn it. It has a gritty reality and truthfulness to it that transcends language. And Latinos when they hear American music, they want to know what they’re saying so I’m sure they went to the lyrics like, oh, he’s singing about this. It’s a struggle that we can relate to as people.\u003c/p>\n\u003cp>Fogerty was really grass-roots with his ideals. He was revolutionary in a sense without shoving it in your face. It was said in such a melodic, strong, truthful way that resonates over time. Whatever sounds good, we’re going to get on it as Latinos and be influenced by it.\u003c/p>\n\u003cp>\u003cstrong>What do you want listeners to take away from this tribute?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Eclipse\u003c/strong>: They are such an epic group, it is just an ode to them, an ode to America and an ode to us. America and Latino America, we’re right next door. We relate in a lot of ways and through music. Take a connection away, two cultures in one. Embrace it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This interview has been edited for clarity and length.\u003cbr>\n\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The East Bay city of El Cerrito is small. It's home to about 24,000 people. But for music fans, it's best known as the birthplace of \u003ca href=\"http://www.rollingstone.com/music/artists/creedence-clearwater-revival/biography\">Creedence Clearwater Revival\u003c/a>.\u003c/p>\n\u003cp>Although the band was together only from 1967 to 1972, CCR's hits were radio staples. Songs like \"Suzie Q,\" \"Bad Moon Rising,\" Fortunate Son,\" \"Green River\" and many others were heard around the world -- and especially beloved in Latin America.\u003c/p>\n\u003cp>\u003cimg class=\"alignleft wp-image-11042520\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-400x400.jpg\" alt=\"RS20589_QueiroCreedence_RGB-qut\" width=\"277\" height=\"277\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut.jpg 635w\" sizes=\"(max-width: 277px) 100vw, 277px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.quierocreedence.com/\">Quiero Creedence\u003c/a>,\u003c/em> a new compilation album of Latin artists covering CCR, has just been released.\u003c/p>\n\u003cp>One of the project's producers is Juan Manuel Caipo, who along with his bandmate, Deuce Eclipse, is also featured on the album with their band, Oakland's \u003ca href=\"http://www.bangdata.com/\">Bang Data\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>How did this project come together?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Juan Manuel Caipo\u003c/strong>: I came up with this idea five years ago. I was in Oakland, grabbing a beer, and I remember hearing Creedence and it just hit me: a tribute album with all these bands from all over the world. The whole idea was to discover new artists, along with the classic artists from all over Latin America.\u003c/p>\n\u003cp>I recall meeting Diana Rodriguez, who’s a partner and executive producer, at the Elbo Room. She’s more of a label person, she worked for EMI Capitol. And I remember going, ‘I have this idea, I want to run it by you,’ and her eyes popped and she said “I love Creedence.” That’s where the conversation started and we just little by little started organically figuring out how we were going to do this.\u003c/p>\n\u003cfigure id=\"attachment_11045100\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11045100\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/EclipseCaipo-800x557.jpg\" alt=\"Deuce Eclipse and Juan Manuel Caipo of the Oakland band Bang Data. Caipo is one of the executive producers of the new compilation 'Quiero Creedence.'\" width=\"800\" height=\"557\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo-800x557.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo-400x279.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo-1180x822.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo-960x669.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deuce Eclipse and Juan Manuel Caipo of the Oakland band Bang Data. Caipo is one of the executive producers of the new compilation 'Quiero Creedence.' \u003ccite>(Suzie Racho/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Were all the artists Creedence fans? Did they come to you and say, ‘I want to do this particular song’?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Caipo\u003c/strong>: We gave them the freedom to choose, but sometimes I would send five songs to one artist, ‘Here’s this list.' And sometimes they wouldn’t even look at that but, for instance, \u003ca href=\"https://twitter.com/LosLobosBand\" target=\"_blank\">Los Lobos\u003c/a>, they picked \"Bootleg.\" I don't think I had never even heard that song. It’s killer and their version is just awesome.\u003c/p>\n\u003cp>\u003ca href=\"http://www.losenanitosverdes.net/\">Los Enanitos Verdes\u003c/a> picked \"Travelin' Band,\" which identifies with them. Those guys tour all the time, all over Latin America. \u003ca href=\"http://ozomatli.com/\" target=\"_blank\">Ozomatli\u003c/a> picked \"Bad Moon Rising.\" The lyrics have a lot to do with what’s going on today. It's prophetic in a way.\u003c/p>\n\u003cp>And then in Bang Data’s case, we always loved that song (\"Fortunate Son\") but no one would pick it! That’s when Deuce and I jumped on it. We said we should probably start working on it before it’s too late!\u003c/p>\n\u003cp>\u003cstrong>Deuce, what did you want to bring to 'Fortunate Son'?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Deuce Eclipse\u003c/strong>: I wanted to honor John Fogerty, which is a really hard thing to do 'cause his voice is such his own instrument. I tried to give it as much soul as I could. I just wanted it to have that kind of feel because really, in the end, it’s real rooted in the culture of America and what was going on at that time during the Vietnam War.\u003c/p>\n\u003cp>And I just wanted to add to it because I feel like today, the lyrics are relevant. And politically this country has gone through a lot and we’re going through a lot right now. So my mind frame going into it was trying to bring it to life again, here in the now, and show people the world hasn’t changed that much, no matter how we look at it. We’re still struggling. We’re still fighting. We’re still at war.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/jjyONEHEOgc?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>There are a lot of different types of music and artists on the record. Do you have a favorite track?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Eclipse\u003c/strong>: Los Lonely Boys is one of my favorites. I heard the actual vocal before anything was done to it. And it was pretty intimidating ‘cause the guy can sing. It was perfect. I really like the \u003ca href=\"http://www.billboard.com/artist/305314/juan-gabriel/biography\">Juan Gabriel \u003c/a>track a lot. It’s such a true little song, it’s really beautiful.\u003c/p>\n\u003cp>\u003cstrong>Caipo\u003c/strong>: That was a big thing and he turned it around so quick. It has this borderline mariachi pop beat from the '70s. It's very smooth.\u003c/p>\n\u003cp>\u003cstrong>Describe Juan Gabriel to those who might not know him.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Caipo\u003c/strong>: He’s a super legend, mega-star songwriter. He’s written songs for everybody since he was 17 years old. You can consider him Mexico’s Prince, his spectrum is so wide. He writes amazing mariachi songs, he’s a producer, pianist, major composer, and he’s known for singing his own compositions. It was the cherry on top for the album. He represents a lot of Mexican culture at an international level.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/tqnfoRXKgLs?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>What do you think the connection is between CCR’s music and the Latino Community?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Caipo\u003c/strong>: I had this feeling from the very beginning, because I lived in Peru, that Creedence was huge all over Latin America.\u003c/p>\n\u003cp>When I moved back to California, I had friends who were Mexican or Salvadorans, they were bumping Creedence. We later found out that the \u003ca href=\"http://www.billboard.com/articles/columns/latin/7445774/quiero-creedence-clearwater-revival-latin-album\">biggest fan base they have is in Mexico\u003c/a>. And whatever happens in Mexico spreads all over South America, too, everything has to do with music. Latinos are rockers; they follow classic rock when stuff started back then.\u003c/p>\n\u003cp>\u003cstrong>Eclipse\u003c/strong>: As a Latino, I can see America had a lot of the groups that Latinos were influenced by. I can see how they were influenced by CCR because you could play it in your garage. The melodies are so easy to catch, you can learn it. It has a gritty reality and truthfulness to it that transcends language. And Latinos when they hear American music, they want to know what they’re saying so I’m sure they went to the lyrics like, oh, he’s singing about this. It’s a struggle that we can relate to as people.\u003c/p>\n\u003cp>Fogerty was really grass-roots with his ideals. He was revolutionary in a sense without shoving it in your face. It was said in such a melodic, strong, truthful way that resonates over time. Whatever sounds good, we’re going to get on it as Latinos and be influenced by it.\u003c/p>\n\u003cp>\u003cstrong>What do you want listeners to take away from this tribute?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Eclipse\u003c/strong>: They are such an epic group, it is just an ode to them, an ode to America and an ode to us. America and Latino America, we’re right next door. We relate in a lot of ways and through music. Take a connection away, two cultures in one. Embrace it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Mariachi Summer Camp Gives Kids a Taste of Tradition",
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"content": "\u003cp>Thirteen-year-old Jose Ramon Gonzalez Chavez usually spends summers lying on his bed at home or on his cellphone.\u003c/p>\n\u003cp>But this year, he’s at Cook Middle School in Santa Rosa learning how to strum the \u003cem>guitarron – \u003c/em>the big bass guitar that’s a trademark of mariachi music\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“The \u003cem>guitarron\u003c/em> is what holds the song in place,” Chavez says as he clutches the instrument. “It’s the bass. You play two strings or one string at a time. And that’s the bom bom bom.”\u003c/p>\n\u003cp>Chavez is one of 50 kids attending California’s only Mariachi Summer Camp for beginners.\u003c/p>\n\u003cp>Many of them come from Mexican families and have heard mariachi music at parties and gatherings, but never picked up an instrument. Their parents can’t afford it or their schools just don’t teach music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/277036737\" 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>At camp, the students -- who range in age from 9 to 15 -- receive three weeks of intense instruction and learn how to play five traditional ballads. It all culminates with a community performance.\u003c/p>\n\u003cp>Jose Soto, a Sonoma State University student and mariachi musician, created the camp two years ago with the help of the Luther Burbank Center for the Arts in Santa Rosa.\u003c/p>\n\u003cp>Soto wanted to offer a program where money didn’t matter.\u003c/p>\n\u003cp>“[The students] don’t have to pay anything,” Soto says. “They don’t have to have an instrument. They get to choose what they want to play.”\u003c/p>\n\u003cp>All the instruments -- the guitars, violins and trumpets -- are on loan through the center’s Instrument Lending Library. Soto also enlisted the help of several other musicians to teach the kids in small groups.\u003c/p>\n\u003cp>“I want them to explore the world and explore what’s in the music. I tell them, ‘Try one instrument, if you don’t like it, just try another one. See if you can fit it into your life.’ \u003cstrong>” \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11041295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11041295\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/jose-soto-800x450.jpg\" alt=\"Mariachi summer camp's program director, Jose Soto, conducts about 50 campers during a recent practice.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariachi summer camp's program director, Jose Soto, conducts about 50 campers during a recent practice. \u003ccite>(Nailah Morgan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soto is from Guadalajara, which is home to some of the finest mariachi bands in Mexico. His father was a mariachi and even formed a family band featuring Soto and his brothers and sisters.\u003c/p>\n\u003cp>But when the family came to the United States eight years ago, Soto couldn’t find a program to help hone his talent. Instead, he learned how to play the trumpet in a high school band, and practiced mariachi music on his own.\u003c/p>\n\u003cp>Soto hopes his camp will give kids the skills and the confidence to perform and share this music with others.\u003c/p>\n\u003cp>\u003cstrong>A New Generation of Mariachi Enthusiasts\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Nine-year-old Yuritzi Guerrero is one of the many girls at camp who is learning to play the violin.\u003c/p>\n\u003cp>She’s also a talented vocalist, but typically sings in the shower or when her mom turns on the radio.\u003c/p>\n\u003cp>Now she is harmonizing with other girls in Spanish.\u003c/p>\n\u003cp>“The songs are just so pretty and they express feelings,” Guerrero says, wearing a ponytail with large bow on top. “When there’s more voices, it sounds beautiful that way.”\u003c/p>\n\u003cfigure id=\"attachment_11041294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11041294\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/yuritzi_violin-1-800x450.jpg\" alt=\"Yuritzi Guerrero practices violin with several other campers.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yuritzi Guerrero practices violin with several other campers. \u003ccite>(Nailah Morgan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout camp, Soto reminds the kids this music emerged from the ranches and small towns of Mexico’s colonial past and symbolizes Mexico’s cultural identity.\u003c/p>\n\u003cp>Before the kids even pick up any instruments, they learn to find their voice so they can express happiness, sadness and joy.\u003c/p>\n\u003cp>One of the classics they’re practicing is \"De Colores,\" a children’s folk song about giving thanks for the all the colors in the world.\u003c/p>\n\u003cp>Many of the students say they’re happy to a have a better understanding of their families’ homeland. But for 13-year-old Rebecca Humphreys, the culture and the music are new.\u003c/p>\n\u003cp>Humphreys is the only student at camp with no ties to Mexico. She wanted to learn the trumpet but quickly realized it was \"too hard to get sounds out of it.”\u003c/p>\n\u003cp>So the middle school student switched to guitar and enjoys how this music tells stories and how all the instruments come together.\u003c/p>\n\u003cp>“Compared to some other music, it has a lot of soul and spirit in it,” Humphreys says. “The strumming patterns on mariachi guitars are also very different. Mariachis strum very fast.”\u003c/p>\n\u003cp>\u003cstrong>An Instant Success\u003c/strong>\u003c/p>\n\u003cp>After practicing all day in separate instrumental groups, Soto finally brings the students together to rehearse for the upcoming performance.\u003c/p>\n\u003cp>But first, the kids try on their mariachi suits, which have been donated by local bands.\u003c/p>\n\u003cp>“It’s tight,” says Chavez, who is donning a maroon suit with gold stitching and chains. “Actually, it’s really snug and cozy. I feel like I could wear this all day.”\u003c/p>\n\u003cp>Soto gets the roughly 50 students into their positions and gives them his cue to begin one of the musical pieces.\u003c/p>\n\u003cp>A melodic burst of music fills the small school auditorium and Soto beams with pride as he conducts the students. It’s not perfect, he says, but it's progress.\u003c/p>\n\u003cfigure id=\"attachment_11041291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11041291\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20536_IMG_0002-800x600.jpg\" alt=\"Mariachi summer campers practice a traditional Mexican ballad at Lawrence Cook Middle School in Santa Rosa.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20536_IMG_0002-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20536_IMG_0002-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20536_IMG_0002-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20536_IMG_0002.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariachi summer campers practice a traditional Mexican ballad at Lawrence Cook Middle School in Santa Rosa. \u003ccite>(Ana Tintocalis/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The kids stare back at him, focused, concentrating on the music. They say the past three weeks have been hard, but feel like it’s finally beginning to pay off. In fact, most of the kids say they plan to be back next summer.\u003c/p>\n\u003cp>Demand for the camp was almost instantaneous after it was first offered last year.\u003c/p>\n\u003cp>The Luther Burbank Center for the Arts responded this summer by expanding the program to Washington Middle School in Cloverdale. Another 50 students have signed up at that location.\u003c/p>\n\u003cp>Soto says he’s excited to share his love and appreciation for this music with a new generation.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I don’t know what I like most -- being a mariachi or seeing my community come together like this. Maybe it’s a little of both because I feel happy with what I’m doing.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thirteen-year-old Jose Ramon Gonzalez Chavez usually spends summers lying on his bed at home or on his cellphone.\u003c/p>\n\u003cp>But this year, he’s at Cook Middle School in Santa Rosa learning how to strum the \u003cem>guitarron – \u003c/em>the big bass guitar that’s a trademark of mariachi music\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“The \u003cem>guitarron\u003c/em> is what holds the song in place,” Chavez says as he clutches the instrument. “It’s the bass. You play two strings or one string at a time. And that’s the bom bom bom.”\u003c/p>\n\u003cp>Chavez is one of 50 kids attending California’s only Mariachi Summer Camp for beginners.\u003c/p>\n\u003cp>Many of them come from Mexican families and have heard mariachi music at parties and gatherings, but never picked up an instrument. Their parents can’t afford it or their schools just don’t teach music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/277036737&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/277036737'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At camp, the students -- who range in age from 9 to 15 -- receive three weeks of intense instruction and learn how to play five traditional ballads. It all culminates with a community performance.\u003c/p>\n\u003cp>Jose Soto, a Sonoma State University student and mariachi musician, created the camp two years ago with the help of the Luther Burbank Center for the Arts in Santa Rosa.\u003c/p>\n\u003cp>Soto wanted to offer a program where money didn’t matter.\u003c/p>\n\u003cp>“[The students] don’t have to pay anything,” Soto says. “They don’t have to have an instrument. They get to choose what they want to play.”\u003c/p>\n\u003cp>All the instruments -- the guitars, violins and trumpets -- are on loan through the center’s Instrument Lending Library. Soto also enlisted the help of several other musicians to teach the kids in small groups.\u003c/p>\n\u003cp>“I want them to explore the world and explore what’s in the music. I tell them, ‘Try one instrument, if you don’t like it, just try another one. See if you can fit it into your life.’ \u003cstrong>” \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11041295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11041295\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/jose-soto-800x450.jpg\" alt=\"Mariachi summer camp's program director, Jose Soto, conducts about 50 campers during a recent practice.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariachi summer camp's program director, Jose Soto, conducts about 50 campers during a recent practice. \u003ccite>(Nailah Morgan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soto is from Guadalajara, which is home to some of the finest mariachi bands in Mexico. His father was a mariachi and even formed a family band featuring Soto and his brothers and sisters.\u003c/p>\n\u003cp>But when the family came to the United States eight years ago, Soto couldn’t find a program to help hone his talent. Instead, he learned how to play the trumpet in a high school band, and practiced mariachi music on his own.\u003c/p>\n\u003cp>Soto hopes his camp will give kids the skills and the confidence to perform and share this music with others.\u003c/p>\n\u003cp>\u003cstrong>A New Generation of Mariachi Enthusiasts\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Nine-year-old Yuritzi Guerrero is one of the many girls at camp who is learning to play the violin.\u003c/p>\n\u003cp>She’s also a talented vocalist, but typically sings in the shower or when her mom turns on the radio.\u003c/p>\n\u003cp>Now she is harmonizing with other girls in Spanish.\u003c/p>\n\u003cp>“The songs are just so pretty and they express feelings,” Guerrero says, wearing a ponytail with large bow on top. “When there’s more voices, it sounds beautiful that way.”\u003c/p>\n\u003cfigure id=\"attachment_11041294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11041294\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/yuritzi_violin-1-800x450.jpg\" alt=\"Yuritzi Guerrero practices violin with several other campers.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yuritzi Guerrero practices violin with several other campers. \u003ccite>(Nailah Morgan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout camp, Soto reminds the kids this music emerged from the ranches and small towns of Mexico’s colonial past and symbolizes Mexico’s cultural identity.\u003c/p>\n\u003cp>Before the kids even pick up any instruments, they learn to find their voice so they can express happiness, sadness and joy.\u003c/p>\n\u003cp>One of the classics they’re practicing is \"De Colores,\" a children’s folk song about giving thanks for the all the colors in the world.\u003c/p>\n\u003cp>Many of the students say they’re happy to a have a better understanding of their families’ homeland. But for 13-year-old Rebecca Humphreys, the culture and the music are new.\u003c/p>\n\u003cp>Humphreys is the only student at camp with no ties to Mexico. She wanted to learn the trumpet but quickly realized it was \"too hard to get sounds out of it.”\u003c/p>\n\u003cp>So the middle school student switched to guitar and enjoys how this music tells stories and how all the instruments come together.\u003c/p>\n\u003cp>“Compared to some other music, it has a lot of soul and spirit in it,” Humphreys says. “The strumming patterns on mariachi guitars are also very different. Mariachis strum very fast.”\u003c/p>\n\u003cp>\u003cstrong>An Instant Success\u003c/strong>\u003c/p>\n\u003cp>After practicing all day in separate instrumental groups, Soto finally brings the students together to rehearse for the upcoming performance.\u003c/p>\n\u003cp>But first, the kids try on their mariachi suits, which have been donated by local bands.\u003c/p>\n\u003cp>“It’s tight,” says Chavez, who is donning a maroon suit with gold stitching and chains. “Actually, it’s really snug and cozy. I feel like I could wear this all day.”\u003c/p>\n\u003cp>Soto gets the roughly 50 students into their positions and gives them his cue to begin one of the musical pieces.\u003c/p>\n\u003cp>A melodic burst of music fills the small school auditorium and Soto beams with pride as he conducts the students. It’s not perfect, he says, but it's progress.\u003c/p>\n\u003cfigure id=\"attachment_11041291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11041291\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20536_IMG_0002-800x600.jpg\" alt=\"Mariachi summer campers practice a traditional Mexican ballad at Lawrence Cook Middle School in Santa Rosa.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20536_IMG_0002-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20536_IMG_0002-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20536_IMG_0002-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20536_IMG_0002.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariachi summer campers practice a traditional Mexican ballad at Lawrence Cook Middle School in Santa Rosa. \u003ccite>(Ana Tintocalis/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The kids stare back at him, focused, concentrating on the music. They say the past three weeks have been hard, but feel like it’s finally beginning to pay off. In fact, most of the kids say they plan to be back next summer.\u003c/p>\n\u003cp>Demand for the camp was almost instantaneous after it was first offered last year.\u003c/p>\n\u003cp>The Luther Burbank Center for the Arts responded this summer by expanding the program to Washington Middle School in Cloverdale. Another 50 students have signed up at that location.\u003c/p>\n\u003cp>Soto says he’s excited to share his love and appreciation for this music with a new generation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I don’t know what I like most -- being a mariachi or seeing my community come together like this. Maybe it’s a little of both because I feel happy with what I’m doing.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Revealing Musical Riches: Bay Area Jazz Singers Kat Parra and Melissa Morgan",
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"content": "\u003cp>The American Songbook is a treasure trove, but far too many jazz singers concentrate on the shiniest crowd-pleasing tunes. Two recent albums by very different Bay Area vocalists offer object lessons in the rewards of mining less frequented territory.\u003c/p>\n\u003cp>Though she paid early dues singing salsa and Latin jazz, \u003ca href=\"http://katparra.com/musica/\">Kat Parra\u003c/a> has spent the past decade forging a gorgeous and consistently surprising repertoire by setting ancient Sephardic songs to an array of Latin American rhythms. Her fifth album, “Songbook of the Americas” (JazzMa Records), is another big step in crafting a stylishly bespoke body of songs unlike any other singer on the scene.\u003c/p>\n\u003cp>Focusing on material by women composers, she ranges freely across the Americas, turning an obscure Betty Carter tune into sprightly cha cha (an arrangement by ace \u003ca href=\"http://www.aarongermain.com/\">bassist Aaron Germain\u003c/a>) and sashays through Chabuca Granda’s gracefully grooving “Maria Lando,” a collaboration with \u003ca href=\"http://murraylow.com/\">pianist Murray Low\u003c/a>, who has long played an essential role in Parra’s music.\u003c/p>\n\u003cp>Peruvian-born Bay Area \u003ca href=\"http://www.karumanta.com/david.html\">bassist David Pinto\u003c/a> contributes several gorgeous arrangements, including setting the poem “Dame La Mano” by Chile’s Nobel laureate poet Gabriela Mistral to an obscure and stately Peruvian rhythm. He also streamlines the tango “Como La Cigarra,” a song by Argentine poet and playwright María Elena Walsh where Parra is joined by the unmistakable Venezuelan-born Bay Area \u003ca href=\"http://www.mariamarquez.com/about.php\">vocalist Maria Marquez\u003c/a>. Her throaty cello tone adds emotional heft to a piece indelibly linked to the struggle against Argentina’s brutal junta that disappeared so many of its own citizens in the late 1970s.\u003c/p>\n\u003cp>Other guests bring out her lighter side. Parra sounds right at home stepping into the aspirational world of \u003ca href=\"http://www.tuckandpatti.com/\">Tuck and Patti\u003c/a> on her original song “Dare to Dream,” and South Bay jazz \u003ca href=\"http://primarycolorsmusic.com/about/nate-pruitt/\">singer Nate Pruitt\u003c/a> struts with her on an Afro-Cuban arrangement of the swooning “Music Man” ballad “Till There Was You.” Clearly, Parra is still finding gold as she scours the New World for fresh material.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11021069\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-800x800.jpg\" alt=\"MelissaMorgan-DaysLikeThis\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ca href=\"http://www.melissamorganjazz.com/\">Melissa Morgan\u003c/a>’s new album, “Days Like This,\" is more of a reintroduction than a bold new step. She made a strong impression back in 2009 with her debut album “Until I Met You” (Telarc), a critically hailed session featuring a stellar cast of young musicians led by \u003ca href=\"http://geraldclayton.com/\">pianist Gerald Clayton\u003c/a>. Based in Los Angeles then, she relocated to the Bay Area a few years ago and has been connecting with some of the best players in the region, like pianist Larry Vuckovich and saxophonist Noel Jewkes.\u003c/p>\n\u003cp>For her second album she drew on her former L.A, comrades, players like \u003ca href=\"http://grahamdechter.com/\">guitarist Graham Dechter\u003c/a>, drummer Kevin Kanner and Clayton, now one of New York’s most esteemed pianists. A digital-only release, Morgan is planning to put out the project as a CD in the coming months.\u003c/p>\n\u003cp>It’s a blues-oriented session, which means Morgan is in her element. She delivers the title track, a Mose Allison classic, with such a tart world-weariness that she seems like his long-lost daughter. She sounds crisp and authoritative tearing through Wes Montgomery’s standard “West Coast Blues,” but her aching version of “You Don’t Know Me” and captivatingly sultry take on “Wild Is the Wind” make me long for a whole program of Morgan singing ballads and torch songs.\u003c/p>\n\u003cp>While \"Days Like This\" offers just a glimpse of what Morgan can do, it doesn’t take more than that to recognize a tremendously gifted singer with a very bright future.\u003c/p>\n\u003cp>Kat Parra performs at San Jose's \u003ca href=\"https://www.destinationhotels.com/hotel-de-anza/events\">Hedley Club\u003c/a> on Aug. 12, Saratoga's \u003ca href=\"http://cafepinkhouse.com/\">Cafe Pink House\u003c/a> on Aug. 20, and North Hollywood's \u003ca href=\"https://apps.vendini.com/ticket-software.html?t=tix&w=abe1f9cf62f8a0b9d529f8e560d241c1&vqitq=98c4f29d-38da-424d-855d-4eae42e958c7&vqitp=4ab93519-9593-45c5-a90e-1f977c98e2fa&vqitts=1456159698&vqitc=vendini&vqite=itlwww&vqitrt=Safetynet&vqith=5b1226e8689a36b556e64886a79a3dd3\">E Spot Lounge \u003c/a>on Sept. 4.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Melissa Morgan performs at Brisbane's \u003ca href=\"https://www.facebook.com/events/993384834112583/\">7 Mile House\u003c/a> on July 26 and \u003ca href=\"http://soundroom.org/#\">Oakland's Sound Room\u003c/a> on Aug. 13.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The American Songbook is a treasure trove, but far too many jazz singers concentrate on the shiniest crowd-pleasing tunes. Two recent albums by very different Bay Area vocalists offer object lessons in the rewards of mining less frequented territory.\u003c/p>\n\u003cp>Though she paid early dues singing salsa and Latin jazz, \u003ca href=\"http://katparra.com/musica/\">Kat Parra\u003c/a> has spent the past decade forging a gorgeous and consistently surprising repertoire by setting ancient Sephardic songs to an array of Latin American rhythms. Her fifth album, “Songbook of the Americas” (JazzMa Records), is another big step in crafting a stylishly bespoke body of songs unlike any other singer on the scene.\u003c/p>\n\u003cp>Focusing on material by women composers, she ranges freely across the Americas, turning an obscure Betty Carter tune into sprightly cha cha (an arrangement by ace \u003ca href=\"http://www.aarongermain.com/\">bassist Aaron Germain\u003c/a>) and sashays through Chabuca Granda’s gracefully grooving “Maria Lando,” a collaboration with \u003ca href=\"http://murraylow.com/\">pianist Murray Low\u003c/a>, who has long played an essential role in Parra’s music.\u003c/p>\n\u003cp>Peruvian-born Bay Area \u003ca href=\"http://www.karumanta.com/david.html\">bassist David Pinto\u003c/a> contributes several gorgeous arrangements, including setting the poem “Dame La Mano” by Chile’s Nobel laureate poet Gabriela Mistral to an obscure and stately Peruvian rhythm. He also streamlines the tango “Como La Cigarra,” a song by Argentine poet and playwright María Elena Walsh where Parra is joined by the unmistakable Venezuelan-born Bay Area \u003ca href=\"http://www.mariamarquez.com/about.php\">vocalist Maria Marquez\u003c/a>. Her throaty cello tone adds emotional heft to a piece indelibly linked to the struggle against Argentina’s brutal junta that disappeared so many of its own citizens in the late 1970s.\u003c/p>\n\u003cp>Other guests bring out her lighter side. Parra sounds right at home stepping into the aspirational world of \u003ca href=\"http://www.tuckandpatti.com/\">Tuck and Patti\u003c/a> on her original song “Dare to Dream,” and South Bay jazz \u003ca href=\"http://primarycolorsmusic.com/about/nate-pruitt/\">singer Nate Pruitt\u003c/a> struts with her on an Afro-Cuban arrangement of the swooning “Music Man” ballad “Till There Was You.” Clearly, Parra is still finding gold as she scours the New World for fresh material.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11021069\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-800x800.jpg\" alt=\"MelissaMorgan-DaysLikeThis\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ca href=\"http://www.melissamorganjazz.com/\">Melissa Morgan\u003c/a>’s new album, “Days Like This,\" is more of a reintroduction than a bold new step. She made a strong impression back in 2009 with her debut album “Until I Met You” (Telarc), a critically hailed session featuring a stellar cast of young musicians led by \u003ca href=\"http://geraldclayton.com/\">pianist Gerald Clayton\u003c/a>. Based in Los Angeles then, she relocated to the Bay Area a few years ago and has been connecting with some of the best players in the region, like pianist Larry Vuckovich and saxophonist Noel Jewkes.\u003c/p>\n\u003cp>For her second album she drew on her former L.A, comrades, players like \u003ca href=\"http://grahamdechter.com/\">guitarist Graham Dechter\u003c/a>, drummer Kevin Kanner and Clayton, now one of New York’s most esteemed pianists. A digital-only release, Morgan is planning to put out the project as a CD in the coming months.\u003c/p>\n\u003cp>It’s a blues-oriented session, which means Morgan is in her element. She delivers the title track, a Mose Allison classic, with such a tart world-weariness that she seems like his long-lost daughter. She sounds crisp and authoritative tearing through Wes Montgomery’s standard “West Coast Blues,” but her aching version of “You Don’t Know Me” and captivatingly sultry take on “Wild Is the Wind” make me long for a whole program of Morgan singing ballads and torch songs.\u003c/p>\n\u003cp>While \"Days Like This\" offers just a glimpse of what Morgan can do, it doesn’t take more than that to recognize a tremendously gifted singer with a very bright future.\u003c/p>\n\u003cp>Kat Parra performs at San Jose's \u003ca href=\"https://www.destinationhotels.com/hotel-de-anza/events\">Hedley Club\u003c/a> on Aug. 12, Saratoga's \u003ca href=\"http://cafepinkhouse.com/\">Cafe Pink House\u003c/a> on Aug. 20, and North Hollywood's \u003ca href=\"https://apps.vendini.com/ticket-software.html?t=tix&w=abe1f9cf62f8a0b9d529f8e560d241c1&vqitq=98c4f29d-38da-424d-855d-4eae42e958c7&vqitp=4ab93519-9593-45c5-a90e-1f977c98e2fa&vqitts=1456159698&vqitc=vendini&vqite=itlwww&vqitrt=Safetynet&vqith=5b1226e8689a36b556e64886a79a3dd3\">E Spot Lounge \u003c/a>on Sept. 4.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Melissa Morgan performs at Brisbane's \u003ca href=\"https://www.facebook.com/events/993384834112583/\">7 Mile House\u003c/a> on July 26 and \u003ca href=\"http://soundroom.org/#\">Oakland's Sound Room\u003c/a> on Aug. 13.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Five Songs for People Who've Been Homeless: The Bay Area's Empathy on Record",
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"content": "\u003cp>\u003cem>\u003cstrong>This story was originally published in 2016.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>You might have seen it, tucked into a recent \u003ca href=\"http://www.nytimes.com/2016/05/16/us/san-francisco-homelessness.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em> report\u003c/a>: the phrase “clumps of humanity,” referring to San Francisco’s homeless population.\u003c/p>\n\u003cp>My KQED coworkers and I \u003ca href=\"http://www.salon.com/2016/05/16/clumps_of_humanity_this_new_york_times_article_treated_homelessness_in_just_about_the_worst_way_possible/\" target=\"_blank\" rel=\"noopener\">weren’t the only ones\u003c/a> who noticed the \u003cem>Times\u003c/em>’ term, a denigration to those down on their luck. But it was especially strange to someone who covers music. Immediately, I thought of the many songs from the Bay Area that treat homelessness not with scorn, but with understanding and empathy.\u003c/p>\n\u003cp>Some of those songs are by musicians who’ve been homeless themselves. Nearly all are by artists who’ve found ways to either give back to the organizations that helped them, or to help others without a roof over their head.\u003c/p>\n\u003ch2>Crimpshrine, ‘Sleep, What’s That?’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=BPIXlsXurdI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>San Francisco punk bands had sung about being homeless before — DRI’s “\u003ca href=\"http://genius.com/Dri-soup-kitchen-lyrics\" target=\"_blank\" rel=\"noopener\">Soup Kitchen Blues\u003c/a>” and MDC’s “\u003ca href=\"http://genius.com/Mdc-no-place-to-piss-lyrics\" target=\"_blank\" rel=\"noopener\">No Place to Piss\u003c/a>” were both products of band members’ experiences squatting and couch-surfing in mid-’80s San Francisco. But Crimpshrine’s \u003cem>Sleep, What’s That?\u003c/em> EP, released in 1988 by a fledgling new record label called Lookout Records, tackled the issue head-on in its title track. Singer/guitarist Jeff Ott was himself homeless at the time, singing:\u003c/p>\n\u003cblockquote>\u003cp>So much food to eat, so many homes to sleep in\u003cbr>\nStores so full of food, so why must I eat from a garbage bin?\u003cbr>\nThere’s 1,600 people walking around today, thinking life’s a little game to play\u003cbr>\nTrying to avoid police abduction, trying to avoid hunger and self-destruction\u003c/p>\u003c/blockquote>\n\u003cp>During \u003ca href=\"https://www.youtube.com/watch?v=adbbq2-w2WY\" target=\"_blank\" rel=\"noopener\">a show at 924 Gilman\u003c/a> in 1989, Ott introduced the song by saying: “It’s about myself and all my friends on Telegraph Avenue who have no place to live, and who go without enough food every day. And there’s places they could be sleeping, and they get busted for it.”\u003c/p>\n\u003cp>Lookout Records would go on to international renown with bands like Green Day and Operation Ivy. When Crimpshrine’s EPs were reissued, the band took the opportunity to give back to the organizations that’d helped them when they were on the streets, donating royalties to \u003ca href=\"http://ebfnb.org/\" target=\"_blank\" rel=\"noopener\">Food Not Bombs\u003c/a> and the \u003ca href=\"http://www.berkeleyfreeclinic.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Free Clinic\u003c/a>.\u003c/p>\n\u003ch2>Tom Waits, ‘Cold Water’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=DgwJQj2E6So\u003c/p>\n\u003cp>Tom Waits has long been an advocate for the homeless, whether in songs like “On the Nickel” — a beautiful ballad from \u003cem>Heartattack and Vine\u003c/em> about Los Angeles’ Fifth Street — or in lending a song to the soundtrack of \u003cem>Streetwise\u003c/em>, a 1984 documentary about homeless teenagers in Seattle.\u003c/p>\n\u003cp>For his 1999 album \u003cem>Mule Variations\u003c/em>, Waits penned the sympathetic ode “Cold Water,” a lovely and sad song in the voice of a homeless teenager:\u003c/p>\n\u003cblockquote>\u003cp>I look 47 but I’m 24\u003cbr>\nWell they shooed me away from here the time before\u003cbr>\nTurned their backs and they locked their doors\u003cbr>\nI’m watchin’ TV in the window of a furniture store\u003c/p>\u003c/blockquote>\n\u003cp>In 2011, Waits released \u003cem>Seeds on Hard Ground\u003c/em>, a limited-edition chapbook of his poetry about homelessness. All proceeds were donated to the \u003ca href=\"http://www.refb.org/\" target=\"_blank\" rel=\"noopener\">Redwood Empire Food Bank\u003c/a>, \u003ca href=\"http://sonomacountyhomeless.org/\" target=\"_blank\" rel=\"noopener\">Sonoma County Homeless Referral Services\u003c/a> and \u003ca href=\"http://www.srcharities.org/get-help/shelter-housing\" target=\"_blank\" rel=\"noopener\">Family Support Center\u003c/a> run by the Catholic Charities of Santa Rosa.\u003c/p>\n\u003ch2>2Pac, ‘Changes’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=eXvBjCO19QY\u003c/p>\n\u003cp>Before he moved to Oakland, Tupac Shakur grew up around tough neighborhoods in the Bronx, Harlem and Baltimore. Oftentimes, without a steady income, his single mother Afeni brought Shakur to stay at homeless shelters. The experience helped inspire “Changes,” originally recorded in 1993:\u003c/p>\n\u003cblockquote>\u003cp>And still I see no changes\u003cbr>\nCan’t a brother get a little peace?\u003cbr>\nIt’s war on the streets and a war in the Middle East\u003cbr>\nInstead of war on poverty\u003cbr>\nThey got a war on drugs so the police can bother me\u003c/p>\u003c/blockquote>\n\u003cp>Shakur put his money where his mouth was, \u003ca href=\"http://articles.latimes.com/1996-08-30/local/me-38987_1_safe-house\" target=\"_blank\" rel=\"noopener\">planning a high-profile benefit concert\u003c/a> for the brand-new community center \u003ca href=\"http://www.apch.org/\" target=\"_blank\" rel=\"noopener\">A Place Called Home\u003c/a>, serving impoverished and at-risk children in South Central Los Angeles. Shakur was murdered just weeks before the concert, but he greatly raised the center’s visibility. A Place Called Home is still going strong.\u003c/p>\n\u003ch2>Metallica, ‘Low Man’s Lyric’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=k2Qq_tBhDsQ\u003c/p>\n\u003cp>You might assume that James Hetfield doesn’t have much exposure to homelessness, living as he did for years in one of the wealthiest per-capita counties in the nation. And yet a \u003ca href=\"https://ww2.kqed.org/forum/2016/06/21/forum-on-the-road-san-rafael-s-homeless-plan-stirs-debate/\" target=\"_blank\" rel=\"noopener\">KQED Forum broadcast from Marin County\u003c/a> showed that amidst Marin’s multi-million dollar homes and shiny Maseratis lives a sizeable homeless population on the street. Some are there due to drug addiction, a group Hetfield sings for in “Low Man’s Lyric”:\u003c/p>\n\u003cblockquote>\u003cp>The trash fire is warm\u003cbr>\nBut nowhere safe from the storm\u003cbr>\nAnd I can’t bear to see\u003cbr>\nWhat I’ve let me be\u003cbr>\nSo wicked and worn\u003c/p>\u003c/blockquote>\n\u003cp>Marin is an interesting case study for homelessness in areas with a vast senior-citizen population; the vicious resistance to affordable housing in the region is leaving many of advanced age out in the cold. While organizations like \u003ca href=\"https://hbofm.org/\" target=\"_blank\" rel=\"noopener\">Homeward Bound\u003c/a> and the \u003ca href=\"http://www.rittercenter.org/\" target=\"_blank\" rel=\"noopener\">Ritter Center\u003c/a> provide for Marin’s homeless, Metallica bassist Robert Trujilo recently \u003ca href=\"http://www.ktvu.com/news/134956135-story\" target=\"_blank\" rel=\"noopener\">took part in a benefit\u003c/a> for San Francisco’s St. Anthony’s Foundation, which provides services and meals to those in need.\u003c/p>\n\u003ch2>Dead Kennedys, ‘Kill the Poor’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=sgpa7wEAz7I\u003c/p>\n\u003cp>It wouldn’t be the Bay Area without a heavy dose of satire, would it? With “Kill the Poor,” Dead Kennedys singer Jello Biafra takes intensive homeless eradication (like San Francisco’s \u003ca href=\"http://ww2.kqed.org/news/2016/03/01/s-f-clearing-homeless-holdouts-from-division-street-neighborhood\" target=\"_blank\" rel=\"noopener\">recent encampment sweeps\u003c/a>) to its logical conclusion:\u003c/p>\n\u003cblockquote>\u003cp>The sun beams down on a brand new day\u003cbr>\nNo more welfare tax to pay\u003cbr>\nUnsightly slums gone up in flashing light\u003cbr>\nJobless millions whisked away\u003cbr>\nAt last we have more room to play\u003cbr>\nAll systems go: kill the poor tonight!\u003c/p>\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It couldn’t happen here, could it? And yet after witnessing a \u003ca href=\"http://ww2.kqed.org/news/2016/03/01/s-f-clearing-homeless-holdouts-from-division-street-neighborhood\" target=\"_blank\" rel=\"noopener\">complete sweep of the homeless on Division Street\u003c/a> — complete with tents removed, personal possessions hauled away and barricades erected to block public land — one can’t help but wonder how many steps away we are, really, from Biafra’s over-the-top proposal.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>This story was originally published in 2016.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>You might have seen it, tucked into a recent \u003ca href=\"http://www.nytimes.com/2016/05/16/us/san-francisco-homelessness.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em> report\u003c/a>: the phrase “clumps of humanity,” referring to San Francisco’s homeless population.\u003c/p>\n\u003cp>My KQED coworkers and I \u003ca href=\"http://www.salon.com/2016/05/16/clumps_of_humanity_this_new_york_times_article_treated_homelessness_in_just_about_the_worst_way_possible/\" target=\"_blank\" rel=\"noopener\">weren’t the only ones\u003c/a> who noticed the \u003cem>Times\u003c/em>’ term, a denigration to those down on their luck. But it was especially strange to someone who covers music. Immediately, I thought of the many songs from the Bay Area that treat homelessness not with scorn, but with understanding and empathy.\u003c/p>\n\u003cp>Some of those songs are by musicians who’ve been homeless themselves. Nearly all are by artists who’ve found ways to either give back to the organizations that helped them, or to help others without a roof over their head.\u003c/p>\n\u003ch2>Crimpshrine, ‘Sleep, What’s That?’\u003c/h2>\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/BPIXlsXurdI'\n title='//www.youtube.com/embed/BPIXlsXurdI'\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>San Francisco punk bands had sung about being homeless before — DRI’s “\u003ca href=\"http://genius.com/Dri-soup-kitchen-lyrics\" target=\"_blank\" rel=\"noopener\">Soup Kitchen Blues\u003c/a>” and MDC’s “\u003ca href=\"http://genius.com/Mdc-no-place-to-piss-lyrics\" target=\"_blank\" rel=\"noopener\">No Place to Piss\u003c/a>” were both products of band members’ experiences squatting and couch-surfing in mid-’80s San Francisco. But Crimpshrine’s \u003cem>Sleep, What’s That?\u003c/em> EP, released in 1988 by a fledgling new record label called Lookout Records, tackled the issue head-on in its title track. Singer/guitarist Jeff Ott was himself homeless at the time, singing:\u003c/p>\n\u003cblockquote>\u003cp>So much food to eat, so many homes to sleep in\u003cbr>\nStores so full of food, so why must I eat from a garbage bin?\u003cbr>\nThere’s 1,600 people walking around today, thinking life’s a little game to play\u003cbr>\nTrying to avoid police abduction, trying to avoid hunger and self-destruction\u003c/p>\u003c/blockquote>\n\u003cp>During \u003ca href=\"https://www.youtube.com/watch?v=adbbq2-w2WY\" target=\"_blank\" rel=\"noopener\">a show at 924 Gilman\u003c/a> in 1989, Ott introduced the song by saying: “It’s about myself and all my friends on Telegraph Avenue who have no place to live, and who go without enough food every day. And there’s places they could be sleeping, and they get busted for it.”\u003c/p>\n\u003cp>Lookout Records would go on to international renown with bands like Green Day and Operation Ivy. When Crimpshrine’s EPs were reissued, the band took the opportunity to give back to the organizations that’d helped them when they were on the streets, donating royalties to \u003ca href=\"http://ebfnb.org/\" target=\"_blank\" rel=\"noopener\">Food Not Bombs\u003c/a> and the \u003ca href=\"http://www.berkeleyfreeclinic.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Free Clinic\u003c/a>.\u003c/p>\n\u003ch2>Tom Waits, ‘Cold Water’\u003c/h2>\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/DgwJQj2E6So'\n title='//www.youtube.com/embed/DgwJQj2E6So'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tom Waits has long been an advocate for the homeless, whether in songs like “On the Nickel” — a beautiful ballad from \u003cem>Heartattack and Vine\u003c/em> about Los Angeles’ Fifth Street — or in lending a song to the soundtrack of \u003cem>Streetwise\u003c/em>, a 1984 documentary about homeless teenagers in Seattle.\u003c/p>\n\u003cp>For his 1999 album \u003cem>Mule Variations\u003c/em>, Waits penned the sympathetic ode “Cold Water,” a lovely and sad song in the voice of a homeless teenager:\u003c/p>\n\u003cblockquote>\u003cp>I look 47 but I’m 24\u003cbr>\nWell they shooed me away from here the time before\u003cbr>\nTurned their backs and they locked their doors\u003cbr>\nI’m watchin’ TV in the window of a furniture store\u003c/p>\u003c/blockquote>\n\u003cp>In 2011, Waits released \u003cem>Seeds on Hard Ground\u003c/em>, a limited-edition chapbook of his poetry about homelessness. All proceeds were donated to the \u003ca href=\"http://www.refb.org/\" target=\"_blank\" rel=\"noopener\">Redwood Empire Food Bank\u003c/a>, \u003ca href=\"http://sonomacountyhomeless.org/\" target=\"_blank\" rel=\"noopener\">Sonoma County Homeless Referral Services\u003c/a> and \u003ca href=\"http://www.srcharities.org/get-help/shelter-housing\" target=\"_blank\" rel=\"noopener\">Family Support Center\u003c/a> run by the Catholic Charities of Santa Rosa.\u003c/p>\n\u003ch2>2Pac, ‘Changes’\u003c/h2>\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/eXvBjCO19QY'\n title='//www.youtube.com/embed/eXvBjCO19QY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before he moved to Oakland, Tupac Shakur grew up around tough neighborhoods in the Bronx, Harlem and Baltimore. Oftentimes, without a steady income, his single mother Afeni brought Shakur to stay at homeless shelters. The experience helped inspire “Changes,” originally recorded in 1993:\u003c/p>\n\u003cblockquote>\u003cp>And still I see no changes\u003cbr>\nCan’t a brother get a little peace?\u003cbr>\nIt’s war on the streets and a war in the Middle East\u003cbr>\nInstead of war on poverty\u003cbr>\nThey got a war on drugs so the police can bother me\u003c/p>\u003c/blockquote>\n\u003cp>Shakur put his money where his mouth was, \u003ca href=\"http://articles.latimes.com/1996-08-30/local/me-38987_1_safe-house\" target=\"_blank\" rel=\"noopener\">planning a high-profile benefit concert\u003c/a> for the brand-new community center \u003ca href=\"http://www.apch.org/\" target=\"_blank\" rel=\"noopener\">A Place Called Home\u003c/a>, serving impoverished and at-risk children in South Central Los Angeles. Shakur was murdered just weeks before the concert, but he greatly raised the center’s visibility. A Place Called Home is still going strong.\u003c/p>\n\u003ch2>Metallica, ‘Low Man’s Lyric’\u003c/h2>\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/k2Qq_tBhDsQ'\n title='//www.youtube.com/embed/k2Qq_tBhDsQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You might assume that James Hetfield doesn’t have much exposure to homelessness, living as he did for years in one of the wealthiest per-capita counties in the nation. And yet a \u003ca href=\"https://ww2.kqed.org/forum/2016/06/21/forum-on-the-road-san-rafael-s-homeless-plan-stirs-debate/\" target=\"_blank\" rel=\"noopener\">KQED Forum broadcast from Marin County\u003c/a> showed that amidst Marin’s multi-million dollar homes and shiny Maseratis lives a sizeable homeless population on the street. Some are there due to drug addiction, a group Hetfield sings for in “Low Man’s Lyric”:\u003c/p>\n\u003cblockquote>\u003cp>The trash fire is warm\u003cbr>\nBut nowhere safe from the storm\u003cbr>\nAnd I can’t bear to see\u003cbr>\nWhat I’ve let me be\u003cbr>\nSo wicked and worn\u003c/p>\u003c/blockquote>\n\u003cp>Marin is an interesting case study for homelessness in areas with a vast senior-citizen population; the vicious resistance to affordable housing in the region is leaving many of advanced age out in the cold. While organizations like \u003ca href=\"https://hbofm.org/\" target=\"_blank\" rel=\"noopener\">Homeward Bound\u003c/a> and the \u003ca href=\"http://www.rittercenter.org/\" target=\"_blank\" rel=\"noopener\">Ritter Center\u003c/a> provide for Marin’s homeless, Metallica bassist Robert Trujilo recently \u003ca href=\"http://www.ktvu.com/news/134956135-story\" target=\"_blank\" rel=\"noopener\">took part in a benefit\u003c/a> for San Francisco’s St. Anthony’s Foundation, which provides services and meals to those in need.\u003c/p>\n\u003ch2>Dead Kennedys, ‘Kill the Poor’\u003c/h2>\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/sgpa7wEAz7I'\n title='//www.youtube.com/embed/sgpa7wEAz7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It wouldn’t be the Bay Area without a heavy dose of satire, would it? With “Kill the Poor,” Dead Kennedys singer Jello Biafra takes intensive homeless eradication (like San Francisco’s \u003ca href=\"http://ww2.kqed.org/news/2016/03/01/s-f-clearing-homeless-holdouts-from-division-street-neighborhood\" target=\"_blank\" rel=\"noopener\">recent encampment sweeps\u003c/a>) to its logical conclusion:\u003c/p>\n\u003cblockquote>\u003cp>The sun beams down on a brand new day\u003cbr>\nNo more welfare tax to pay\u003cbr>\nUnsightly slums gone up in flashing light\u003cbr>\nJobless millions whisked away\u003cbr>\nAt last we have more room to play\u003cbr>\nAll systems go: kill the poor tonight!\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It couldn’t happen here, could it? And yet after witnessing a \u003ca href=\"http://ww2.kqed.org/news/2016/03/01/s-f-clearing-homeless-holdouts-from-division-street-neighborhood\" target=\"_blank\" rel=\"noopener\">complete sweep of the homeless on Division Street\u003c/a> — complete with tents removed, personal possessions hauled away and barricades erected to block public land — one can’t help but wonder how many steps away we are, really, from Biafra’s over-the-top proposal.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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