How One LA Teacher Uses Jazz to Explore California History, Race and Culture
Why San Francisco's Fillmore District Is No Longer the 'Harlem of the West'
Dave Brubeck, Louis Armstrong and the Story Behind a Groundbreaking 1962 Civil Rights Jazz Musical
Legendary LA Jazz Vocalist Ernie Andrews Dies at 94
How ‘Urban Renewal’ Decimated the Fillmore District, and Took Jazz With It
From Tortillas and a Jazz Club to Chips and Salsa: The Legendary Evolution of Casa Sanchez
A California Supreme: Alice Coltrane's 'Lost' L.A. Albums Resurrected
Monterey Jazz Festival Celebrates 60 Years
Family Ties Shape New Albums by Douyé, and The Sons of the Soul Revivers
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At most schools, the teacher finds a dusty old instrument, out of tune, stashed away in a dark closet.\u003c/p>\n\u003cp>The cobwebs tell him all he needs to know about how little arts education those students have been getting. His go-to technique to get them more jazzed about learning is to tickle the ivories, make that piano come back to life. [pullquote size=\"medium\" align=\"right\" citation=\"Guillermo Tejeda, teacher, Wadsworth Elementary in South Central Los Angeles\"]‘I’m telling you, when I bring in song, when I bring music and performance into the classroom, the students light up in a way that really creates a meaningful experience for them.’[/pullquote]“I’ll bring it out, dust it off. I’ll bring students into the auditorium and I’ll do lessons there,” said Tejeda, a fourth-grade teacher at Wadsworth Elementary in hardscrabble South Central Los Angeles. “I’m telling you, when I bring in song, when I bring music and performance into the classroom, the students light up in a way that really creates a meaningful experience for them.”\u003c/p>\n\u003cp>A schoolteacher who is also a jazz musician and a member of the \u003ca href=\"https://youtu.be/EU6steOWfmU?si=FTzUo5SSz51PmlGr\">Neighborhood Orchestra Collective\u003c/a>, Tejeda uses music in general and the narrative of the LA jazz scene, particularly to teach about history, race and culture, and to spark joy in the classroom. A father of three currently on parental leave with his 11-month-old daughter Maya, Tejeda started playing the guitar at the age of 6. His grandfather, a migrant farm worker with a love of mariachi and a hand gnarled from picking in the fields, taught him how to play.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m from East LA, and I became a teacher because I wanted to be the teacher that I never had,” he said. “We come from a marginalized community where it’s hard to be a teacher. A lot of the adults are stressed out. People are not feeling joy. How do we bring more joy? How do we bring more meaning into our lives? I think music is that vehicle.”\u003c/p>\n\u003cp>Tejeda takes an expansive view of education that integrates the arts into all the disciplines to bring learning to life for children. He said his teaching feeds his music and his music feeds his teaching. [pullquote size=\"medium\" align=\"right\" citation=\"Guillermo Tejeda, teacher, Wadsworth Elementary in South Central Los Angeles\"]‘I’m from East LA, and I became a teacher because I wanted to be the teacher that I never had.’[/pullquote]“I wish I had a teacher like Guillermo when I was in fourth grade,” said Elmo Lovano, the founder of Jammcard: The Music Professionals Network, who developed \u003ca href=\"https://schoolgig.us/\">School Gig\u003c/a>, an app that connects artists to schools. “He’s a passionate guy. He’s incredibly talented. It’s important for artists to know you can still be doing your art, but being a teacher could be an amazing opportunity for you to make a living, stay at home, support your family, give back to the kids, the next generation, and also still do you.”\u003c/p>\n\u003cp>Music is the prism through which his students become immersed in the history of their city, its politics and culture. He wants his students to be in tune with their heritage.\u003c/p>\n\u003cp>“I teach on 41st and Central, which is a historic jazz corridor,” he said. “And when I got to that school site, it surprised me that so few teachers talked about that. The first thing I did was write a lesson plan about it.”\u003c/p>\n\u003cp>Tejeda, whose students call him ‘Mister’ as a nickname, makes sure his class learns about the rich legacy of jazz in Los Angeles. For example, the historic Central Avenue jazz corridor was, for decades, a \u003ca href=\"https://www.latimes.com/california/gallery/looking-back-at-historic-central-avenue-in-los-angeles\">cultural mecca\u003c/a>, the heart of the African-American community in the city. At a time when most of the country was rigidly segregated, it was also something of an oasis, a place where people of all races and classes came together over music. There, a pantheon of jazz luminaries, including Charlie Parker, Miles Davis, Duke Ellington, Billie Holiday and Jelly Roll Morton, played to full houses.\u003c/p>\n\u003cp>“The giants of Central Avenue may have gone, but their footprints still remain on all of American culture,” as basketball great \u003ca href=\"https://www.latimes.com/california/story/2020-07-18/central-avenue-los-angeles-jazz\">Kareem Abdul-Jabbar once put it\u003c/a>. “The jazz musicians and record promoters also gave birth to rock ‘n’ roll, rhythm and blues, hip-hop and rap.”\u003c/p>\n\u003cfigure id=\"attachment_11967956\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11967956\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/EdSource02.jpeg\" alt=\"A man poses in between two women. Everyone is smiling and having a nice time.\" width=\"1920\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/EdSource02.jpeg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/EdSource02-800x1067.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/EdSource02-1020x1360.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/EdSource02-160x213.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/EdSource02-1152x1536.jpeg 1152w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/EdSource02-1536x2048.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo Tejeda and members of the band Steam Down at the Venice Jazz Festival. \u003ccite>(Courtesy of Luis Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Steeping in the often overlooked history of their neighborhood, Tejeda said, can help children sharpen their sense of identity, belonging and pride.\u003c/p>\n\u003cp>“These kids have no idea how special and beautiful their neighborhoods are because all they see on the news is how messed up it is,” said Tejeda, long a champion of culturally relevant pedagogy. “I want them to know this is the place, right here in your hood, this is where a lot of jazz music was born.”\u003c/p>\n\u003cp>Music often resonates with children on a deeper level than other forms of instruction. Tejeda is moved to tears remembering one little boy who had trouble engaging at school because of trauma at home. He only opened up when they began to play the piano together at recess. The piano became his sanctuary.\u003c/p>\n\u003cp>“I’m shook when I come home because a lot of these kids are dealing with very hard stuff and they’re so resilient,” said Tejeda, his voice thick with emotion.\u003c/p>\n\u003cp>“Yes, math and science is important, but the whole child is important, that’s what drives me.”\u003c/p>\n\u003cp>Music also enhances both \u003ca href=\"https://files.eric.ed.gov/fulltext/EJ1163197.pdf\">math\u003c/a> and \u003ca href=\"https://brainvolts.northwestern.edu/reading/\">reading\u003c/a> performance, experts say, perhaps partly because it enhances the \u003ca href=\"https://brainvolts.northwestern.edu/wp-content/uploads/boxtrx/2020-108-4-Kraus-v2.pdf\">neuroplasticity of the brain\u003c/a>. Music amplifies learning across subject areas, experts say.\u003c/p>\n\u003cp>“Music and movement, in addition to the more common modalities of written and verbal instruction, is critical for including all kinds of learners in a well-rounded education,” said Jessica Mele, interim executive director of Create CA, an advocacy group. “It’s particularly beneficial for students whose first language is not English. Using art as a window into culture, race and history can engage students in complex conversations that they might not otherwise engage in.” [aside postID=news_11962024 hero='https://ww2.kqed.org/app/uploads/sites/10/2023/09/20230910_Symphony_25-KQED-1020x680.jpg']Music can also be healing, \u003ca href=\"https://www.health.harvard.edu/blog/healing-through-music-201511058556\">research suggests\u003c/a>. As a boy, Tejeda suffered from a stutter that only subsided when he sang.\u003c/p>\n\u003cp>“I keep it real with the kids because I see myself in them,” he said. “It’s crazy how impactful music has been for me.”\u003c/p>\n\u003cp>It’s also a uniquely social experience that invites children to collaborate with their peers on projects that require and reward focus and discipline, qualities experts say fuel academic success. Children practiced in the arts become accustomed to working collectively toward ambitious long-term goals.\u003c/p>\n\u003cp>Perhaps most importantly for Tejeda, children often find their voice through music and the arts. They can gain a sense of confidence, social-emotional well-being and a passion for lifelong learning.\u003c/p>\n\u003cp>“The end goals of music and education aren’t to memorize curriculums or key terms,” Tejeda said. “It’s really to find out who you are. It’s about self-determination and growing the full human being. I’m so excited to see this synergy of music and education because they are inextricable.” [pullquote size=\"medium\" align=\"right\" citation=\"Guillermo Tejeda, teacher, Wadsworth Elementary in South Central Los Angeles\"]I feel a deep calling to help effect change across California classrooms. I am never going to stop teaching because teaching and education is so essential to my soul.’[/pullquote]Tejeda’s ambition is to make school so stimulating that children want to go there every day because they are deeply engaged in their studies. At a time of chronic absenteeism and plummeting test scores, he has a transformative vision of arts education as reinvigorating the classroom.\u003c/p>\n\u003cp>“I feel a deep calling to help effect change across California classrooms,” he said. “I am never going to stop teaching because teaching and education is so essential to my soul. It is at the core of who I am,” but this “is a critical time for me to put my work into the next gear and figure out how I’m going to apply my passion and expertise to affect tangible change, more urgently, on a wider scale.”\u003c/p>\n\u003cp>Going forward, he hopes to pursue arts education advocacy on a broader level. He is also developing a new arts-driven curriculum to “unleash the symphony of learning” as Proposition 28, \u003ca href=\"https://edsource.org/2023/behind-the-scenes-californias-new-arts-education-plans/694383\">the state’s groundbreaking 2022 arts initiative\u003c/a>, ramps up.\u003c/p>\n\u003cp>“It’s like out of my dreams and into reality,” he said. “We’re going to create a new world for students. This is a revolutionary time.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"A member of the Neighborhood Orchestra Collective in Los Angeles, musician and educator Guillermo Tejeda blends jazz and LA's story to educate his students.","status":"publish","parent":0,"modified":1700603206,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1583},"headData":{"title":"How One LA Teacher Uses Jazz to Explore California History, Race and Culture | KQED","description":"A member of the Neighborhood Orchestra Collective in Los Angeles, musician and educator Guillermo Tejeda blends jazz and LA's story to educate his students.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"nprByline":"\u003ca href=\"https://edsource.org/author/kdsouza\">Karen D'Souza\u003c/a>\u003cbr> EdSource","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/news/11967943/how-one-la-teacher-uses-jazz-to-explore-california-history-race-and-culture","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first thing Guillermo Tejeda does when he visits a new school is hunt for the piano. At most schools, the teacher finds a dusty old instrument, out of tune, stashed away in a dark closet.\u003c/p>\n\u003cp>The cobwebs tell him all he needs to know about how little arts education those students have been getting. His go-to technique to get them more jazzed about learning is to tickle the ivories, make that piano come back to life. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘I’m telling you, when I bring in song, when I bring music and performance into the classroom, the students light up in a way that really creates a meaningful experience for them.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Guillermo Tejeda, teacher, Wadsworth Elementary in South Central Los Angeles","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I’ll bring it out, dust it off. I’ll bring students into the auditorium and I’ll do lessons there,” said Tejeda, a fourth-grade teacher at Wadsworth Elementary in hardscrabble South Central Los Angeles. “I’m telling you, when I bring in song, when I bring music and performance into the classroom, the students light up in a way that really creates a meaningful experience for them.”\u003c/p>\n\u003cp>A schoolteacher who is also a jazz musician and a member of the \u003ca href=\"https://youtu.be/EU6steOWfmU?si=FTzUo5SSz51PmlGr\">Neighborhood Orchestra Collective\u003c/a>, Tejeda uses music in general and the narrative of the LA jazz scene, particularly to teach about history, race and culture, and to spark joy in the classroom. A father of three currently on parental leave with his 11-month-old daughter Maya, Tejeda started playing the guitar at the age of 6. His grandfather, a migrant farm worker with a love of mariachi and a hand gnarled from picking in the fields, taught him how to play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m from East LA, and I became a teacher because I wanted to be the teacher that I never had,” he said. “We come from a marginalized community where it’s hard to be a teacher. A lot of the adults are stressed out. People are not feeling joy. How do we bring more joy? How do we bring more meaning into our lives? I think music is that vehicle.”\u003c/p>\n\u003cp>Tejeda takes an expansive view of education that integrates the arts into all the disciplines to bring learning to life for children. He said his teaching feeds his music and his music feeds his teaching. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘I’m from East LA, and I became a teacher because I wanted to be the teacher that I never had.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Guillermo Tejeda, teacher, Wadsworth Elementary in South Central Los Angeles","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I wish I had a teacher like Guillermo when I was in fourth grade,” said Elmo Lovano, the founder of Jammcard: The Music Professionals Network, who developed \u003ca href=\"https://schoolgig.us/\">School Gig\u003c/a>, an app that connects artists to schools. “He’s a passionate guy. He’s incredibly talented. It’s important for artists to know you can still be doing your art, but being a teacher could be an amazing opportunity for you to make a living, stay at home, support your family, give back to the kids, the next generation, and also still do you.”\u003c/p>\n\u003cp>Music is the prism through which his students become immersed in the history of their city, its politics and culture. He wants his students to be in tune with their heritage.\u003c/p>\n\u003cp>“I teach on 41st and Central, which is a historic jazz corridor,” he said. “And when I got to that school site, it surprised me that so few teachers talked about that. The first thing I did was write a lesson plan about it.”\u003c/p>\n\u003cp>Tejeda, whose students call him ‘Mister’ as a nickname, makes sure his class learns about the rich legacy of jazz in Los Angeles. For example, the historic Central Avenue jazz corridor was, for decades, a \u003ca href=\"https://www.latimes.com/california/gallery/looking-back-at-historic-central-avenue-in-los-angeles\">cultural mecca\u003c/a>, the heart of the African-American community in the city. At a time when most of the country was rigidly segregated, it was also something of an oasis, a place where people of all races and classes came together over music. There, a pantheon of jazz luminaries, including Charlie Parker, Miles Davis, Duke Ellington, Billie Holiday and Jelly Roll Morton, played to full houses.\u003c/p>\n\u003cp>“The giants of Central Avenue may have gone, but their footprints still remain on all of American culture,” as basketball great \u003ca href=\"https://www.latimes.com/california/story/2020-07-18/central-avenue-los-angeles-jazz\">Kareem Abdul-Jabbar once put it\u003c/a>. “The jazz musicians and record promoters also gave birth to rock ‘n’ roll, rhythm and blues, hip-hop and rap.”\u003c/p>\n\u003cfigure id=\"attachment_11967956\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11967956\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/EdSource02.jpeg\" alt=\"A man poses in between two women. Everyone is smiling and having a nice time.\" width=\"1920\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/EdSource02.jpeg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/EdSource02-800x1067.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/EdSource02-1020x1360.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/EdSource02-160x213.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/EdSource02-1152x1536.jpeg 1152w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/EdSource02-1536x2048.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo Tejeda and members of the band Steam Down at the Venice Jazz Festival. \u003ccite>(Courtesy of Luis Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Steeping in the often overlooked history of their neighborhood, Tejeda said, can help children sharpen their sense of identity, belonging and pride.\u003c/p>\n\u003cp>“These kids have no idea how special and beautiful their neighborhoods are because all they see on the news is how messed up it is,” said Tejeda, long a champion of culturally relevant pedagogy. “I want them to know this is the place, right here in your hood, this is where a lot of jazz music was born.”\u003c/p>\n\u003cp>Music often resonates with children on a deeper level than other forms of instruction. Tejeda is moved to tears remembering one little boy who had trouble engaging at school because of trauma at home. He only opened up when they began to play the piano together at recess. The piano became his sanctuary.\u003c/p>\n\u003cp>“I’m shook when I come home because a lot of these kids are dealing with very hard stuff and they’re so resilient,” said Tejeda, his voice thick with emotion.\u003c/p>\n\u003cp>“Yes, math and science is important, but the whole child is important, that’s what drives me.”\u003c/p>\n\u003cp>Music also enhances both \u003ca href=\"https://files.eric.ed.gov/fulltext/EJ1163197.pdf\">math\u003c/a> and \u003ca href=\"https://brainvolts.northwestern.edu/reading/\">reading\u003c/a> performance, experts say, perhaps partly because it enhances the \u003ca href=\"https://brainvolts.northwestern.edu/wp-content/uploads/boxtrx/2020-108-4-Kraus-v2.pdf\">neuroplasticity of the brain\u003c/a>. Music amplifies learning across subject areas, experts say.\u003c/p>\n\u003cp>“Music and movement, in addition to the more common modalities of written and verbal instruction, is critical for including all kinds of learners in a well-rounded education,” said Jessica Mele, interim executive director of Create CA, an advocacy group. “It’s particularly beneficial for students whose first language is not English. Using art as a window into culture, race and history can engage students in complex conversations that they might not otherwise engage in.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11962024","hero":"https://ww2.kqed.org/app/uploads/sites/10/2023/09/20230910_Symphony_25-KQED-1020x680.jpg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Music can also be healing, \u003ca href=\"https://www.health.harvard.edu/blog/healing-through-music-201511058556\">research suggests\u003c/a>. As a boy, Tejeda suffered from a stutter that only subsided when he sang.\u003c/p>\n\u003cp>“I keep it real with the kids because I see myself in them,” he said. “It’s crazy how impactful music has been for me.”\u003c/p>\n\u003cp>It’s also a uniquely social experience that invites children to collaborate with their peers on projects that require and reward focus and discipline, qualities experts say fuel academic success. Children practiced in the arts become accustomed to working collectively toward ambitious long-term goals.\u003c/p>\n\u003cp>Perhaps most importantly for Tejeda, children often find their voice through music and the arts. They can gain a sense of confidence, social-emotional well-being and a passion for lifelong learning.\u003c/p>\n\u003cp>“The end goals of music and education aren’t to memorize curriculums or key terms,” Tejeda said. “It’s really to find out who you are. It’s about self-determination and growing the full human being. I’m so excited to see this synergy of music and education because they are inextricable.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"I feel a deep calling to help effect change across California classrooms. I am never going to stop teaching because teaching and education is so essential to my soul.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Guillermo Tejeda, teacher, Wadsworth Elementary in South Central Los Angeles","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Tejeda’s ambition is to make school so stimulating that children want to go there every day because they are deeply engaged in their studies. At a time of chronic absenteeism and plummeting test scores, he has a transformative vision of arts education as reinvigorating the classroom.\u003c/p>\n\u003cp>“I feel a deep calling to help effect change across California classrooms,” he said. “I am never going to stop teaching because teaching and education is so essential to my soul. It is at the core of who I am,” but this “is a critical time for me to put my work into the next gear and figure out how I’m going to apply my passion and expertise to affect tangible change, more urgently, on a wider scale.”\u003c/p>\n\u003cp>Going forward, he hopes to pursue arts education advocacy on a broader level. He is also developing a new arts-driven curriculum to “unleash the symphony of learning” as Proposition 28, \u003ca href=\"https://edsource.org/2023/behind-the-scenes-californias-new-arts-education-plans/694383\">the state’s groundbreaking 2022 arts initiative\u003c/a>, ramps up.\u003c/p>\n\u003cp>“It’s like out of my dreams and into reality,” he said. “We’re going to create a new world for students. This is a revolutionary time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11967943/how-one-la-teacher-uses-jazz-to-explore-california-history-race-and-culture","authors":["byline_news_11967943"],"categories":["news_29992","news_18540","news_8"],"tags":["news_19133","news_31716","news_20013","news_27626","news_3771","news_4","news_1425","news_32948","news_33518"],"featImg":"news_11967955","label":"news"},"news_11957757":{"type":"posts","id":"news_11957757","meta":{"index":"posts_1591205157","site":"news","id":"11957757","score":null,"sort":[1691661647000]},"guestAuthors":[],"slug":"why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west","title":"Why San Francisco's Fillmore District Is No Longer the 'Harlem of the West'","publishDate":1691661647,"format":"standard","headTitle":"Why San Francisco’s Fillmore District Is No Longer the ‘Harlem of the West’ | KQED","labelTerm":{"term":33523,"site":"news"},"content":"\u003cp>\u003ca href=\"#episode-transcript\">\u003cem>Read a transcript of this episode.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>If you were walking down San Francisco’s Fillmore Street in the 1950s, chances are you might run into Billie Holiday stepping out of a restaurant. Or Ella Fitzgerald trying on hats. Or Thelonious Monk smoking a cigarette. This wouldn’t be out of the ordinary in the “\u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">Harlem of the West\u003c/a>.”\u003c/p>\n\u003cp>In this episode originally aired in 2020, reporter Bianca Taylor explores the rise of the Fillmore as a cultural center for jazz, and the “urban renewal” that ultimately changed the identity of the neighborhood, and forced out many of its residents.\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> Hey everyone, this is Olivia Allen-Price and you’re listening to Bay Curious. The show that answers your questions about the San Francisco Bay Area.\u003c/p>\n\u003cp>Today we’re going to start the episode by venturing back in time, and into the night.\u003c/p>\n\u003cp>It’s the 1950s … and while most folks around the Bay Area have tucked themselves in by midnight, all cozy in their warms beds, things in San Francisco’s Fillmore District are just heating up.\u003c/p>\n\u003cp>[\u003cem>Distant jazz music wafts in, as if you’re hearing it from outside on the street\u003c/em>]\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> Jazz is on special here every night of the week.\u003c/p>\n\u003cp>Take a stroll down Fillmore Street and you might run into Billie Holiday stepping out of a restaurant … or Thelonious Monk smoking a cigarette.\u003c/p>\n\u003cp>The music of Dizzy Gillespie bleeds through the door of a music venue.\u003c/p>\n\u003cp>[\u003cem>Door opens, music gets much louder, like we’re in a club]\u003c/em>\u003c/p>\n\u003cp>Step inside and you’re front and center for why this neighborhood got the moniker “Harlem of the West.” In the 1940s and ’50s, the Fillmore was THE spot on the West Coast to see the jazz greats.\u003c/p>\n\u003cp>Until … it wasn’t.\u003c/p>\n\u003cp>[\u003cem>Construction noises\u003c/em>]\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> Today on the show — how the Fillmore become a national hotspot for jazz, and how city planners dismantled it.\u003c/p>\n\u003cp>This story was inspired by a winning question from a public voting round on BayCurious.org. It first aired in 2020. But we’re bringing it back today because this story is featured in our newly released book, “Bay Curious: Exploring the Hidden True Stories of the San Francisco Bay Area,” which, I’ll just mention, is available at a local bookstore near you.\u003c/p>\n\u003cp>We’ll turn up the music, right after this…\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> We’re delving into how a small neighborhood in San Francisco became an epicenter for jazz. Reporter Bianca Taylor brings us the story…\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor:\u003c/strong> Like so much of San Francisco history, the story of the Fillmore can be traced back to the day the city shook.\u003c/p>\n\u003cp>\u003cem>[Early 1900-music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Elizabeth Pepin Silva:\u003c/strong> After the earthquake, pretty much all of San Francisco all relocated to the Fillmore simply because it was the closest place to downtown that survived relatively intact the earthquake and subsequent fire.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor:\u003c/strong> Elizabeth Pepin Silva is a filmmaker and co-author of the book, \u003cem>Harlem of the West\u003c/em>. She grew up in San Francisco. When she was a teenager, she got a job working for music promotor Bill Graham at the Fillmore Auditorium. It’s how she first started digging into the history of the neighborhood.\u003c/p>\n\u003cp>\u003cstrong>Elizabeth Pepin Silva:\u003c/strong> Once downtown was rebuilt, the local Fillmore Neighborhood’s merchants association were trying to figure out a way to keep people coming back to the neighborhood.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor:\u003c/strong> It was decided that the Fillmore would be San Francisco’s entertainment center. In 1909, an amusement park called the Fillmore Chutes was built, complete with a wooden roller coaster and Ferris wheel, and three years later, the Fillmore Auditorium.\u003c/p>\n\u003cp>\u003cstrong>Elizabeth Pepin Silva: \u003c/strong>You know, there were beer halls. It was a really fun, exciting place. It was a place to go have fun. But it was mainly for white people.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor:\u003c/strong> Yes, San Francisco was segregated, but in the Fillmore it was a little bit different. The earthquake had damaged a lot of neighborhoods where people of color were “allowed” to live in the city, but the surviving Fillmore district had inexpensive real estate and a history of accepting immigrants.\u003c/p>\n\u003cp>So through the early 1900s up until the 1940s, you had Filipinos, Mexicans, African Americans, Russians, Japanese Americans and Jewish people living next door to one another.\u003c/p>\n\u003cp>\u003cstrong>Elizabeth Pepin Silva: \u003c/strong>And it really became known as one of the most integrated neighborhoods west of the Mississippi.\u003c/p>\n\u003cp>\u003cstrong>Archival Newsreel:\u003c/strong> “On December 7th, 1941 Japan, like its infamous axis partners, struck first and declared war afterwards.”\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>Then, Pearl Harbor was bombed. And the country changed completely.\u003c/p>\n\u003cp>\u003cstrong>Elizabeth Pepin Silva: \u003c/strong>Japanese Americans are forced into concentration camps and it left this huge hole in the Fillmore district.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>At the same time there was a push to recruit African Americans from the Midwest to work the shipyards in San Francisco and Richmond.\u003c/p>\n\u003cp>\u003cstrong>Elizabeth Pepin Silva: \u003c/strong>And they were given a free train ticket and promise of a job and they were like, “come on out we need you.”\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>African Americans arriving in San Francisco moved into empty apartments the JapanesecAmericans had been forced out of. Between 1940 and 1950, the Black population of San Francisco grew tenfold. By 1945, some 30,000 African Americans were living in the city.\u003c/p>\n\u003cp>With this surge in population came an explosion in the Fillmore of Black-owned businesses, nightclubs, restaurants, and bars like…\u003c/p>\n\u003cp>\u003cstrong>Terry Hilliard:\u003c/strong> Circle Star\u003cbr>\n\u003cstrong>Mary Stallings:\u003c/strong> I hung out at Bop City\u003cbr>\n\u003cstrong>Terry Hilliard:\u003c/strong> Like Jack’s on Sutter\u003cbr>\n\u003cstrong>Mary Stallings: \u003c/strong>The Blue Mirror\u003cbr>\n\u003cstrong>Terry Hilliard:\u003c/strong> Booker T. Washington Hotel\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>And you could go out on Friday night and not come home till Sunday night because there is so much to do. And so that’s how Fillmore became Harlem of the West.\u003c/p>\n\u003cp>\u003cem>[Music: “Soul Sauce,” Cal Tjader with Terry Hilliard]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Terry Hilliard:\u003c/strong> So, you know, when you play in the city, it just feels so wonderful that you have an audience of that caliber who enjoy your music.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>Terry Hilliard, who we’re hearing on this track by Cal Tjader, is a bass player who started playing in the Fillmore district when he was a student at SF State.\u003c/p>\n\u003cp>\u003cstrong>Terry Hilliard:\u003c/strong> We had great crowds. People really dressed up nice. The places were very elegant. There’s just a lot of joy.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>The Fillmore was one of the few places where, as a Black man, Terry could play a venue and enter through the front door.\u003c/p>\n\u003cp>\u003cstrong>Terry Hilliard: \u003c/strong>When we played the private party, we’d have to come in through the loading dock. We’d play the show and then we come back down through the kitchen. Didn’t feel that at the Fillmore. At the Fillmore, they were Black clubs.\u003c/p>\n\u003cp>\u003cem>[Music: “Sunday Kind of Love,” Mary Stallings]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>Jazz singer Mary Stallings, who we’re hearing here, was born in the Fillmore District in 1939.\u003c/p>\n\u003cp>\u003cstrong>Mary Stallings:\u003c/strong> My family came from the Midwest. I was the first born in San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>She started singing gospel in her neighborhood church when she was 8 years old.\u003c/p>\n\u003cp>\u003cstrong>Mary Stallings:\u003c/strong> Growing up in that area, walking to church in the morning you cross that Fillmore area. It was just music … god, music everywhere. It was just an amazing experience and feeling, and I knew that I was living something very special.\u003c/p>\n\u003cp>\u003cem>[Music: “What a Difference a Day Makes,” Dinah Washington]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>When she was older, Mary worked at jazz clubs where she got to see her idols perform when they came through town, like Dinah Washington.\u003c/p>\n\u003cp>\u003cstrong>Mary Stallings:\u003c/strong> When I was a kid, I used to imitate Billy Eckstine. I used to imitate Dinah Washington. I used to imitate Billie Holiday. And it’s amazing. I worked with all these people and knew these people personally.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>But Mary and Terry both say it wasn’t just the music that made the Fillmore special.\u003c/p>\n\u003cp>\u003cstrong>Mary Stallings: \u003c/strong>You know, you felt like you were cared for. You know, you had a home life, but everybody else was your family, too.\u003c/p>\n\u003cp>\u003cstrong>Terry Hilliard: \u003c/strong>The reason it was so different was because of the culture. It had a culture that was a place where talent could be developed, whether it be music, art, dancing or whatever. It was there. It was a place where you could express yourself and be accepted by others and you had an audience. I just don’t see that today.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>Why don’t you see that today?\u003c/p>\n\u003cp>After World War II, President Truman signed the 1949 Housing Act, which authorized the demolition and reconstruction of urban neighborhoods that were considered slums. This policy of “redevelopment” specifically targeted neighborhoods that were low-income and not-white. So in the 1960s, with its old Victorian houses and mostly Black population, the Fillmore became the focus of San Francisco’s “urban renewal.”\u003c/p>\n\u003cp>Jazz clubs were shuttered. Businesses torn down. Geary Street turned into the massive four-lane Geary Boulevard, slicing through the heart of the neighborhood. Residents were forced out of their homes, often without much warning or adequate compensation. To city planners, this was urban renewal, but to the residents of the Fillmore, it felt like something else.\u003c/p>\n\u003cp>\u003cem>[Archival Tape] \u003c/em>\u003cstrong>Man 1:\u003c/strong> And then this is part of redevelopment also.\u003cbr>\n\u003cstrong>James Baldwin: \u003c/strong>What do you mean? Redevelopment meaning what?\u003cbr>\n\u003cstrong>Man 1:\u003c/strong> Meaning removal of negroes.\u003cbr>\n\u003cstrong>James Baldwin: \u003c/strong>That’s what I thought you meant.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>That’s writer James Baldwin. In 1963, he came to San Francisco to interview Black residents for a documentary produced by KQED. In the film called \u003cem>Take This Hammer\u003c/em>, Baldwin points out that even though San Francisco thinks of itself as a progressive city, its policies — like those of redevelopment — made it no different from Birmingham, Alabama.\u003c/p>\n\u003cp>\u003cem>[Archival Tape] \u003c/em>\u003cstrong>James Baldwin:\u003c/strong> I imagine it’d be easy for any white person walking through San Francisco to imagine everything was at peace. Cuz it certainly looks that way on the surface. San Francisco’s much prettier than New York. And it’s easier to hide in San Francisco than in New York. You’ve got the view, you’ve got the hills. You’ve got the San Francisco legend too which is that it’s cosmopolitan and forward-looking. But it’s just another American city.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>The redevelopment of the Fillmore was one of the largest projects of urban renewal on the West Coast. It impacted nearly 20,000 people. And by the time new housing and storefronts were finally completed in the 1980s, most of the former Fillmore residents couldn’t afford to move back in.\u003c/p>\n\u003cp>According to the U.S. census, in the 1970s 10% of San Francisco’s population identified as Black. Today, that number is half.\u003c/p>\n\u003cp>Mary Stallings still lives in San Francisco but says going back to the Fillmore now breaks her heart.\u003c/p>\n\u003cp>\u003cstrong>Mary Stallings:\u003c/strong> I was trying to explain that in another interview and I didn’t get very far because I cried like a baby. Because I missed — I missed the community feeling, the feeling of family.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>Terry Hilliard lives in Oakland now. He kept playing music in the Bay Area, but says all the musicians he played with back then left and went to New York. They couldn’t afford to live here.\u003c/p>\n\u003cp>\u003cstrong>Terry Hilliard:\u003c/strong> The only ones, the musicians who stay here, were those who had jobs like me. I ended up being a computer programmer and others worked at other jobs. Then we just played as often as we could together.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>Jazz in the Fillmore isn’t entirely dead. You can catch a live jazz show six days a week at the Boom Boom Room on Fillmore and Geary. The free, two-day Fillmore Jazz Festival draws big performers each summer. But is it still the Harlem of the West? Elizabeth Pepin Silva says…\u003c/p>\n\u003cp>\u003cstrong>Elizabeth Pepin Silva:\u003c/strong> Oh, absolutely not. No way. No.\u003c/p>\n\u003cp>Sad jazz start.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>Cities change. It’s easy to romanticize the past… But listening to Mary talk about her childhood in the Fillmore, she keeps using this word:\u003c/p>\n\u003cp>\u003cstrong>Mary Stallings:\u003c/strong> It was just so magical as I look back, it was just \u003cem>magic\u003c/em>. You know, I use that terminology when things just can’t explain it.\u003c/p>\n\u003cp>\u003cem>[Music: “Sunday Kind of Love,” Mary Stallings]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> Jazz singer Mary Stallings. That story was reported by Bianca Taylor.\u003c/p>\n\u003cp>A written version of this story is one of the 49 included in our newly released book: \u003cem>Bay Curious: Exploring the Hidden True Stories of the San Francisco Bay Area\u003c/em>. Be sure to check it out to learn more fascinating things, like: How Mountain Bikes first got rolling in Marin or how a once-popular island became a ghost town in the middle of San Francisco Bay. You can find details at \u003ca href=\"https://www.kqed.org/baycuriousbook\">KQED.org/baycuriousbook\u003c/a>.\u003c/p>\n\u003cp>We’ve also got a book event coming up on Thursday, Aug. 24 at Black Bird Bookstore in San Francisco’s Outer Sunset. Come by to hear me tell some stories! We’ll also play a little mini trivia game, have some audience Q&A, and I’ll be signing books. The event is free and starts at 7 p.m. This is our last event on the calendar for a while, so I hope to see you there!\u003c/p>\n\u003cp>Today’s episode was produced by Katrina Schwartz and Asal Ehsanipour. Audio engineering was by Rob Speight and Christopher Beale. The Bay Curious team also includes Amanda Font. Additional support from Jen Chien, Katie Sprenger, Cesar Saldana and Holly Kernan.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Bay Curious is made in San Francisco at member-supported KQED.\u003cbr>\nI’m your host and senior editor, Olivia Allen-Price. Stay curious and have a wonderful week.\u003c/p>\n\n","blocks":[],"excerpt":"To understand why the jazz music scene in the Fillmore has changed, you have to go back to when so many of San Francisco's stories begin: the 1906 earthquake. ","status":"publish","parent":0,"modified":1700531335,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":true,"hasPolis":false,"paragraphCount":81,"wordCount":2420},"headData":{"title":"Why San Francisco's Fillmore District Is No Longer the 'Harlem of the West' | KQED","description":"To understand why the jazz music scene in the Fillmore has changed, you have to go back to when so many of San Francisco's stories begin: the 1906 earthquake. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/pdst.fm/e/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC4390852110.mp3?updated=1691628596","excludeFromSiteSearch":"Include","articleAge":"0","path":"/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003cem>Read a transcript of this episode.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>If you were walking down San Francisco’s Fillmore Street in the 1950s, chances are you might run into Billie Holiday stepping out of a restaurant. Or Ella Fitzgerald trying on hats. Or Thelonious Monk smoking a cigarette. This wouldn’t be out of the ordinary in the “\u003ca href=\"https://www.kqed.org/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it\">Harlem of the West\u003c/a>.”\u003c/p>\n\u003cp>In this episode originally aired in 2020, reporter Bianca Taylor explores the rise of the Fillmore as a cultural center for jazz, and the “urban renewal” that ultimately changed the identity of the neighborhood, and forced out many of its residents.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"baycuriousquestion","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> Hey everyone, this is Olivia Allen-Price and you’re listening to Bay Curious. The show that answers your questions about the San Francisco Bay Area.\u003c/p>\n\u003cp>Today we’re going to start the episode by venturing back in time, and into the night.\u003c/p>\n\u003cp>It’s the 1950s … and while most folks around the Bay Area have tucked themselves in by midnight, all cozy in their warms beds, things in San Francisco’s Fillmore District are just heating up.\u003c/p>\n\u003cp>[\u003cem>Distant jazz music wafts in, as if you’re hearing it from outside on the street\u003c/em>]\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> Jazz is on special here every night of the week.\u003c/p>\n\u003cp>Take a stroll down Fillmore Street and you might run into Billie Holiday stepping out of a restaurant … or Thelonious Monk smoking a cigarette.\u003c/p>\n\u003cp>The music of Dizzy Gillespie bleeds through the door of a music venue.\u003c/p>\n\u003cp>[\u003cem>Door opens, music gets much louder, like we’re in a club]\u003c/em>\u003c/p>\n\u003cp>Step inside and you’re front and center for why this neighborhood got the moniker “Harlem of the West.” In the 1940s and ’50s, the Fillmore was THE spot on the West Coast to see the jazz greats.\u003c/p>\n\u003cp>Until … it wasn’t.\u003c/p>\n\u003cp>[\u003cem>Construction noises\u003c/em>]\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> Today on the show — how the Fillmore become a national hotspot for jazz, and how city planners dismantled it.\u003c/p>\n\u003cp>This story was inspired by a winning question from a public voting round on BayCurious.org. It first aired in 2020. But we’re bringing it back today because this story is featured in our newly released book, “Bay Curious: Exploring the Hidden True Stories of the San Francisco Bay Area,” which, I’ll just mention, is available at a local bookstore near you.\u003c/p>\n\u003cp>We’ll turn up the music, right after this…\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> We’re delving into how a small neighborhood in San Francisco became an epicenter for jazz. Reporter Bianca Taylor brings us the story…\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor:\u003c/strong> Like so much of San Francisco history, the story of the Fillmore can be traced back to the day the city shook.\u003c/p>\n\u003cp>\u003cem>[Early 1900-music]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Elizabeth Pepin Silva:\u003c/strong> After the earthquake, pretty much all of San Francisco all relocated to the Fillmore simply because it was the closest place to downtown that survived relatively intact the earthquake and subsequent fire.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor:\u003c/strong> Elizabeth Pepin Silva is a filmmaker and co-author of the book, \u003cem>Harlem of the West\u003c/em>. She grew up in San Francisco. When she was a teenager, she got a job working for music promotor Bill Graham at the Fillmore Auditorium. It’s how she first started digging into the history of the neighborhood.\u003c/p>\n\u003cp>\u003cstrong>Elizabeth Pepin Silva:\u003c/strong> Once downtown was rebuilt, the local Fillmore Neighborhood’s merchants association were trying to figure out a way to keep people coming back to the neighborhood.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor:\u003c/strong> It was decided that the Fillmore would be San Francisco’s entertainment center. In 1909, an amusement park called the Fillmore Chutes was built, complete with a wooden roller coaster and Ferris wheel, and three years later, the Fillmore Auditorium.\u003c/p>\n\u003cp>\u003cstrong>Elizabeth Pepin Silva: \u003c/strong>You know, there were beer halls. It was a really fun, exciting place. It was a place to go have fun. But it was mainly for white people.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor:\u003c/strong> Yes, San Francisco was segregated, but in the Fillmore it was a little bit different. The earthquake had damaged a lot of neighborhoods where people of color were “allowed” to live in the city, but the surviving Fillmore district had inexpensive real estate and a history of accepting immigrants.\u003c/p>\n\u003cp>So through the early 1900s up until the 1940s, you had Filipinos, Mexicans, African Americans, Russians, Japanese Americans and Jewish people living next door to one another.\u003c/p>\n\u003cp>\u003cstrong>Elizabeth Pepin Silva: \u003c/strong>And it really became known as one of the most integrated neighborhoods west of the Mississippi.\u003c/p>\n\u003cp>\u003cstrong>Archival Newsreel:\u003c/strong> “On December 7th, 1941 Japan, like its infamous axis partners, struck first and declared war afterwards.”\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>Then, Pearl Harbor was bombed. And the country changed completely.\u003c/p>\n\u003cp>\u003cstrong>Elizabeth Pepin Silva: \u003c/strong>Japanese Americans are forced into concentration camps and it left this huge hole in the Fillmore district.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>At the same time there was a push to recruit African Americans from the Midwest to work the shipyards in San Francisco and Richmond.\u003c/p>\n\u003cp>\u003cstrong>Elizabeth Pepin Silva: \u003c/strong>And they were given a free train ticket and promise of a job and they were like, “come on out we need you.”\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>African Americans arriving in San Francisco moved into empty apartments the JapanesecAmericans had been forced out of. Between 1940 and 1950, the Black population of San Francisco grew tenfold. By 1945, some 30,000 African Americans were living in the city.\u003c/p>\n\u003cp>With this surge in population came an explosion in the Fillmore of Black-owned businesses, nightclubs, restaurants, and bars like…\u003c/p>\n\u003cp>\u003cstrong>Terry Hilliard:\u003c/strong> Circle Star\u003cbr>\n\u003cstrong>Mary Stallings:\u003c/strong> I hung out at Bop City\u003cbr>\n\u003cstrong>Terry Hilliard:\u003c/strong> Like Jack’s on Sutter\u003cbr>\n\u003cstrong>Mary Stallings: \u003c/strong>The Blue Mirror\u003cbr>\n\u003cstrong>Terry Hilliard:\u003c/strong> Booker T. Washington Hotel\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>And you could go out on Friday night and not come home till Sunday night because there is so much to do. And so that’s how Fillmore became Harlem of the West.\u003c/p>\n\u003cp>\u003cem>[Music: “Soul Sauce,” Cal Tjader with Terry Hilliard]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Terry Hilliard:\u003c/strong> So, you know, when you play in the city, it just feels so wonderful that you have an audience of that caliber who enjoy your music.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>Terry Hilliard, who we’re hearing on this track by Cal Tjader, is a bass player who started playing in the Fillmore district when he was a student at SF State.\u003c/p>\n\u003cp>\u003cstrong>Terry Hilliard:\u003c/strong> We had great crowds. People really dressed up nice. The places were very elegant. There’s just a lot of joy.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>The Fillmore was one of the few places where, as a Black man, Terry could play a venue and enter through the front door.\u003c/p>\n\u003cp>\u003cstrong>Terry Hilliard: \u003c/strong>When we played the private party, we’d have to come in through the loading dock. We’d play the show and then we come back down through the kitchen. Didn’t feel that at the Fillmore. At the Fillmore, they were Black clubs.\u003c/p>\n\u003cp>\u003cem>[Music: “Sunday Kind of Love,” Mary Stallings]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>Jazz singer Mary Stallings, who we’re hearing here, was born in the Fillmore District in 1939.\u003c/p>\n\u003cp>\u003cstrong>Mary Stallings:\u003c/strong> My family came from the Midwest. I was the first born in San Francisco.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>She started singing gospel in her neighborhood church when she was 8 years old.\u003c/p>\n\u003cp>\u003cstrong>Mary Stallings:\u003c/strong> Growing up in that area, walking to church in the morning you cross that Fillmore area. It was just music … god, music everywhere. It was just an amazing experience and feeling, and I knew that I was living something very special.\u003c/p>\n\u003cp>\u003cem>[Music: “What a Difference a Day Makes,” Dinah Washington]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>When she was older, Mary worked at jazz clubs where she got to see her idols perform when they came through town, like Dinah Washington.\u003c/p>\n\u003cp>\u003cstrong>Mary Stallings:\u003c/strong> When I was a kid, I used to imitate Billy Eckstine. I used to imitate Dinah Washington. I used to imitate Billie Holiday. And it’s amazing. I worked with all these people and knew these people personally.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>But Mary and Terry both say it wasn’t just the music that made the Fillmore special.\u003c/p>\n\u003cp>\u003cstrong>Mary Stallings: \u003c/strong>You know, you felt like you were cared for. You know, you had a home life, but everybody else was your family, too.\u003c/p>\n\u003cp>\u003cstrong>Terry Hilliard: \u003c/strong>The reason it was so different was because of the culture. It had a culture that was a place where talent could be developed, whether it be music, art, dancing or whatever. It was there. It was a place where you could express yourself and be accepted by others and you had an audience. I just don’t see that today.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>Why don’t you see that today?\u003c/p>\n\u003cp>After World War II, President Truman signed the 1949 Housing Act, which authorized the demolition and reconstruction of urban neighborhoods that were considered slums. This policy of “redevelopment” specifically targeted neighborhoods that were low-income and not-white. So in the 1960s, with its old Victorian houses and mostly Black population, the Fillmore became the focus of San Francisco’s “urban renewal.”\u003c/p>\n\u003cp>Jazz clubs were shuttered. Businesses torn down. Geary Street turned into the massive four-lane Geary Boulevard, slicing through the heart of the neighborhood. Residents were forced out of their homes, often without much warning or adequate compensation. To city planners, this was urban renewal, but to the residents of the Fillmore, it felt like something else.\u003c/p>\n\u003cp>\u003cem>[Archival Tape] \u003c/em>\u003cstrong>Man 1:\u003c/strong> And then this is part of redevelopment also.\u003cbr>\n\u003cstrong>James Baldwin: \u003c/strong>What do you mean? Redevelopment meaning what?\u003cbr>\n\u003cstrong>Man 1:\u003c/strong> Meaning removal of negroes.\u003cbr>\n\u003cstrong>James Baldwin: \u003c/strong>That’s what I thought you meant.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>That’s writer James Baldwin. In 1963, he came to San Francisco to interview Black residents for a documentary produced by KQED. In the film called \u003cem>Take This Hammer\u003c/em>, Baldwin points out that even though San Francisco thinks of itself as a progressive city, its policies — like those of redevelopment — made it no different from Birmingham, Alabama.\u003c/p>\n\u003cp>\u003cem>[Archival Tape] \u003c/em>\u003cstrong>James Baldwin:\u003c/strong> I imagine it’d be easy for any white person walking through San Francisco to imagine everything was at peace. Cuz it certainly looks that way on the surface. San Francisco’s much prettier than New York. And it’s easier to hide in San Francisco than in New York. You’ve got the view, you’ve got the hills. You’ve got the San Francisco legend too which is that it’s cosmopolitan and forward-looking. But it’s just another American city.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>The redevelopment of the Fillmore was one of the largest projects of urban renewal on the West Coast. It impacted nearly 20,000 people. And by the time new housing and storefronts were finally completed in the 1980s, most of the former Fillmore residents couldn’t afford to move back in.\u003c/p>\n\u003cp>According to the U.S. census, in the 1970s 10% of San Francisco’s population identified as Black. Today, that number is half.\u003c/p>\n\u003cp>Mary Stallings still lives in San Francisco but says going back to the Fillmore now breaks her heart.\u003c/p>\n\u003cp>\u003cstrong>Mary Stallings:\u003c/strong> I was trying to explain that in another interview and I didn’t get very far because I cried like a baby. Because I missed — I missed the community feeling, the feeling of family.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>Terry Hilliard lives in Oakland now. He kept playing music in the Bay Area, but says all the musicians he played with back then left and went to New York. They couldn’t afford to live here.\u003c/p>\n\u003cp>\u003cstrong>Terry Hilliard:\u003c/strong> The only ones, the musicians who stay here, were those who had jobs like me. I ended up being a computer programmer and others worked at other jobs. Then we just played as often as we could together.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>Jazz in the Fillmore isn’t entirely dead. You can catch a live jazz show six days a week at the Boom Boom Room on Fillmore and Geary. The free, two-day Fillmore Jazz Festival draws big performers each summer. But is it still the Harlem of the West? Elizabeth Pepin Silva says…\u003c/p>\n\u003cp>\u003cstrong>Elizabeth Pepin Silva:\u003c/strong> Oh, absolutely not. No way. No.\u003c/p>\n\u003cp>Sad jazz start.\u003c/p>\n\u003cp>\u003cstrong>Bianca Taylor: \u003c/strong>Cities change. It’s easy to romanticize the past… But listening to Mary talk about her childhood in the Fillmore, she keeps using this word:\u003c/p>\n\u003cp>\u003cstrong>Mary Stallings:\u003c/strong> It was just so magical as I look back, it was just \u003cem>magic\u003c/em>. You know, I use that terminology when things just can’t explain it.\u003c/p>\n\u003cp>\u003cem>[Music: “Sunday Kind of Love,” Mary Stallings]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Olivia Allen-Price:\u003c/strong> Jazz singer Mary Stallings. That story was reported by Bianca Taylor.\u003c/p>\n\u003cp>A written version of this story is one of the 49 included in our newly released book: \u003cem>Bay Curious: Exploring the Hidden True Stories of the San Francisco Bay Area\u003c/em>. Be sure to check it out to learn more fascinating things, like: How Mountain Bikes first got rolling in Marin or how a once-popular island became a ghost town in the middle of San Francisco Bay. You can find details at \u003ca href=\"https://www.kqed.org/baycuriousbook\">KQED.org/baycuriousbook\u003c/a>.\u003c/p>\n\u003cp>We’ve also got a book event coming up on Thursday, Aug. 24 at Black Bird Bookstore in San Francisco’s Outer Sunset. Come by to hear me tell some stories! We’ll also play a little mini trivia game, have some audience Q&A, and I’ll be signing books. The event is free and starts at 7 p.m. This is our last event on the calendar for a while, so I hope to see you there!\u003c/p>\n\u003cp>Today’s episode was produced by Katrina Schwartz and Asal Ehsanipour. Audio engineering was by Rob Speight and Christopher Beale. The Bay Curious team also includes Amanda Font. Additional support from Jen Chien, Katie Sprenger, Cesar Saldana and Holly Kernan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bay Curious is made in San Francisco at member-supported KQED.\u003cbr>\nI’m your host and senior editor, Olivia Allen-Price. Stay curious and have a wonderful week.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west","authors":["11365"],"programs":["news_33523"],"series":["news_17986"],"categories":["news_8","news_33520"],"tags":["news_22210","news_3771","news_38"],"featImg":"news_11957762","label":"news_33523"},"news_11926473":{"type":"posts","id":"news_11926473","meta":{"index":"posts_1591205157","site":"news","id":"11926473","score":null,"sort":[1663970433000]},"guestAuthors":[],"slug":"the-civil-rights-musical-louis-armstrong-and-dave-brubeck-premiered-at-the-monterey-jazz-festival-60-years-ago","title":"Dave Brubeck, Louis Armstrong and the Story Behind a Groundbreaking 1962 Civil Rights Jazz Musical","publishDate":1663970433,"format":"standard","headTitle":"The California Report Magazine | KQED News","labelTerm":{},"content":"\u003cp>As the \u003ca href=\"https://montereyjazzfestival.org/\">Monterey Jazz Festival\u003c/a> kicks off again this weekend, \u003ca href=\"https://www.kqed.org/californiareportmagazine\">The California Report Magazine\u003c/a> goes back in time to a chilly evening at the festival 60 years ago.\u003c/p>\n\u003cp>On Sept. 23, 1962, a groundbreaking musical premiered its first — and only — performance there.\u003c/p>\n\u003cp>[aside postID=arts_13916363 hero='https://ww2.kqed.org/app/uploads/sites/2/2022/07/DBP62-26-1-scaled-e1658457571798-1536x1202.jpeg']It was called \"\u003ca href=\"https://www.kqed.org/arts/13916363/dave-and-iola-brubeck-louis-armstrong-and-the-civil-rights-musical-that-never-happened\">The Real Ambassadors\u003c/a>,\" and it featured a glittering array of jazz titans, including Louis Armstrong.\u003c/p>\n\u003cp>This was the height of the civil rights movement, and the musical cast artists of different races, challenging racism and social injustice through jazz.\u003c/p>\n\u003cp>\"The Real Ambassadors\" was written by two Californians influential in moving jazz into the mainstream: Dave and Iola Brubeck. He grew up on a cattle ranch in Ione in Amador County; she, in Redding. They met in Stockton at College of the Pacific in 1945, and went on to become a couple and lifelong collaborators. They were living in the Oakland hills when they first came up with the idea of \"The Real Ambassadors,\" as a Broadway musical.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The musical gets its name from the “cultural ambassador” title bestowed on Brubeck, Armstrong and other jazz musicians the \u003ca href=\"https://eca.state.gov/jazzdiplomacy\">U.S. State Department began sending abroad in the 1950s\u003c/a> to share American music and culture.\u003c/p>\n\u003cp>Many of the Black musicians on the tour were treated as heroes abroad. But when returning home to segregation in the U.S., they were often forced to enter the venues they played through the service door. \"The Real Ambassadors\" questions this hypocrisy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YtTL-Z5EyEY&t=9s\u003c/p>\n\u003cp>The Brubecks' musical was a chance for Louis Armstrong to speak out about his deep feelings about racism and segregation in this country — feelings he rarely expressed publicly.\u003c/p>\n\u003cp>\"The Real Ambassadors\" never made it to Broadway as intended, and there’s no recording of its one performance at the Monterey Jazz Festival. But Columbia Records did record the bulk of the score, with lyrics that, in the \u003ca href=\"https://www.kqed.org/arts/13916363/dave-and-iola-brubeck-louis-armstrong-and-the-civil-rights-musical-that-never-happened\">words of arts critic Andrew Gilbert\u003c/a>, “confronted Jim Crow segregation and racial prejudice with radical theology and a strikingly melodic score.”\u003c/p>\n\u003cp>\u003cem>Find the play button at the top of this page to listen to this audio journey, rich with original music, rare archival recorded letters back and forth between the Brubecks and Louis Armstrong about the project, and rehearsal recordings and interviews with Dave and Iola Brubeck. The documentary duo \u003ca href=\"https://kitchensisters.org/\">The Kitchen Sisters\u003c/a>, in collaboration with \u003ca href=\"http://theechochamberpodcast.com/about-us-2/\">Brandi Howell and the Echo Chamber podcast\u003c/a>, brought us this project. Other voices include: the Brubecks' sons, Chris Brubeck and Dan Brubeck; Keith Hatschek, author of the newly released book \"The Real Ambassadors”; Ricky Riccardi, director of research collections for the Louis Armstrong House Museum; and singer/actress Yolande Bavan, the last surviving performer involved in the project.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"A glittering cast of jazz titans put on 'The Real Ambassadors,' a musical challenging racism and social injustice through jazz at the 1962 Monterey Jazz Festival.","status":"publish","parent":0,"modified":1663970763,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":484},"headData":{"title":"Dave Brubeck, Louis Armstrong and the Story Behind a Groundbreaking 1962 Civil Rights Jazz Musical | KQED","description":"A glittering cast of jazz titans put on 'The Real Ambassadors,' a musical challenging racism and social injustice through jazz at the 1962 Monterey Jazz Festival.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"11926473 https://ww2.kqed.org/news/?p=11926473","disqusUrl":"https://ww2.kqed.org/news/2022/09/23/the-civil-rights-musical-louis-armstrong-and-dave-brubeck-premiered-at-the-monterey-jazz-festival-60-years-ago/","disqusTitle":"Dave Brubeck, Louis Armstrong and the Story Behind a Groundbreaking 1962 Civil Rights Jazz Musical","source":"The California Report Magazine","sourceUrl":"https://www.kqed.org/californiareportmagazine","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC6782627615.mp3?updated=1663955400","excludeFromSiteSearch":"Include","path":"/news/11926473/the-civil-rights-musical-louis-armstrong-and-dave-brubeck-premiered-at-the-monterey-jazz-festival-60-years-ago","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the \u003ca href=\"https://montereyjazzfestival.org/\">Monterey Jazz Festival\u003c/a> kicks off again this weekend, \u003ca href=\"https://www.kqed.org/californiareportmagazine\">The California Report Magazine\u003c/a> goes back in time to a chilly evening at the festival 60 years ago.\u003c/p>\n\u003cp>On Sept. 23, 1962, a groundbreaking musical premiered its first — and only — performance there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13916363","hero":"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DBP62-26-1-scaled-e1658457571798-1536x1202.jpeg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It was called \"\u003ca href=\"https://www.kqed.org/arts/13916363/dave-and-iola-brubeck-louis-armstrong-and-the-civil-rights-musical-that-never-happened\">The Real Ambassadors\u003c/a>,\" and it featured a glittering array of jazz titans, including Louis Armstrong.\u003c/p>\n\u003cp>This was the height of the civil rights movement, and the musical cast artists of different races, challenging racism and social injustice through jazz.\u003c/p>\n\u003cp>\"The Real Ambassadors\" was written by two Californians influential in moving jazz into the mainstream: Dave and Iola Brubeck. He grew up on a cattle ranch in Ione in Amador County; she, in Redding. They met in Stockton at College of the Pacific in 1945, and went on to become a couple and lifelong collaborators. They were living in the Oakland hills when they first came up with the idea of \"The Real Ambassadors,\" as a Broadway musical.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The musical gets its name from the “cultural ambassador” title bestowed on Brubeck, Armstrong and other jazz musicians the \u003ca href=\"https://eca.state.gov/jazzdiplomacy\">U.S. State Department began sending abroad in the 1950s\u003c/a> to share American music and culture.\u003c/p>\n\u003cp>Many of the Black musicians on the tour were treated as heroes abroad. But when returning home to segregation in the U.S., they were often forced to enter the venues they played through the service door. \"The Real Ambassadors\" questions this hypocrisy.\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/YtTL-Z5EyEY'\n title='//www.youtube.com/embed/YtTL-Z5EyEY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Brubecks' musical was a chance for Louis Armstrong to speak out about his deep feelings about racism and segregation in this country — feelings he rarely expressed publicly.\u003c/p>\n\u003cp>\"The Real Ambassadors\" never made it to Broadway as intended, and there’s no recording of its one performance at the Monterey Jazz Festival. But Columbia Records did record the bulk of the score, with lyrics that, in the \u003ca href=\"https://www.kqed.org/arts/13916363/dave-and-iola-brubeck-louis-armstrong-and-the-civil-rights-musical-that-never-happened\">words of arts critic Andrew Gilbert\u003c/a>, “confronted Jim Crow segregation and racial prejudice with radical theology and a strikingly melodic score.”\u003c/p>\n\u003cp>\u003cem>Find the play button at the top of this page to listen to this audio journey, rich with original music, rare archival recorded letters back and forth between the Brubecks and Louis Armstrong about the project, and rehearsal recordings and interviews with Dave and Iola Brubeck. The documentary duo \u003ca href=\"https://kitchensisters.org/\">The Kitchen Sisters\u003c/a>, in collaboration with \u003ca href=\"http://theechochamberpodcast.com/about-us-2/\">Brandi Howell and the Echo Chamber podcast\u003c/a>, brought us this project. Other voices include: the Brubecks' sons, Chris Brubeck and Dan Brubeck; Keith Hatschek, author of the newly released book \"The Real Ambassadors”; Ricky Riccardi, director of research collections for the Louis Armstrong House Museum; and singer/actress Yolande Bavan, the last surviving performer involved in the project.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11926473/the-civil-rights-musical-louis-armstrong-and-dave-brubeck-premiered-at-the-monterey-jazz-festival-60-years-ago","authors":["254"],"programs":["news_26731"],"categories":["news_223","news_8"],"tags":["news_4750","news_3559","news_31674","news_31673","news_3771","news_31144","news_31672","news_3788","news_31676","news_19216","news_29608","news_31675"],"featImg":"news_11926530","label":"source_news_11926473"},"news_11907630":{"type":"posts","id":"news_11907630","meta":{"index":"posts_1591205157","site":"news","id":"11907630","score":null,"sort":[1647032858000]},"guestAuthors":[],"slug":"after-a-career-spanning-70-years-jazz-vocalist-ernie-andrews-dies-at-94","title":"Legendary LA Jazz Vocalist Ernie Andrews Dies at 94","publishDate":1647032858,"format":"standard","headTitle":"The California Report Magazine | KQED News","labelTerm":{"term":26731,"site":"news"},"content":"\u003cp>Los Angeles vocalist Ernie Andrews was one of jazz’s great ballad and blues men. A suave song stylist whose career spanned almost eight decades, he was one of the last direct links to the glory days of the Central Avenue scene in the 1940s, when LA boasted one of the nation’s most fecund and innovative Black music scenes. While Andrews never quite became a star, he was an indispensable figure in Southern California until his death on Feb. 21 at the age of 94.\u003c/p>\n\u003cfigure id=\"attachment_11907743\" class=\"wp-caption alignright\" style=\"max-width: 371px\">\u003cimg class=\"wp-image-11907743\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54142_Ernie-Andrews-How-About-Me-HighNote-HCD-7151-qut-800x800.jpg\" alt=\"\" width=\"371\" height=\"371\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54142_Ernie-Andrews-How-About-Me-HighNote-HCD-7151-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54142_Ernie-Andrews-How-About-Me-HighNote-HCD-7151-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54142_Ernie-Andrews-How-About-Me-HighNote-HCD-7151-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54142_Ernie-Andrews-How-About-Me-HighNote-HCD-7151-qut-1536x1536.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54142_Ernie-Andrews-How-About-Me-HighNote-HCD-7151-qut.jpg 1920w\" sizes=\"(max-width: 371px) 100vw, 371px\">\u003cfigcaption class=\"wp-caption-text\">Ernie Andrews released the album 'How About Me' in 2006. \u003ccite>(Courtesy HighNote Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in Philadelphia in 1927, Andrews spent several formative years as a teenager in New Orleans, where he started performing professionally. By the time he enrolled at Jefferson High (alongside classmates such as future tenor sax legend Dexter Gordon and trombonist/arranger Melba Liston), he was ready for the big time. After Andrews won a talent show at Central Avenue’s Lincoln Theatre, songwriter Joe Greene approached him about recording some of his material. Andrews wasn’t 18 yet when he scored a minor hit in 1945 with Greene’s “Soothe Me” (a song memorably revived by Shirley Horn in 1991).\u003c/p>\n\u003cp>Inspired by Billy Eckstine’s suave balladry and Jimmy Rushing’s Kansas City blues, Andrews had his own idiosyncratic sound from the beginning. Tall, lean and dapper, he infused even upbeat tunes with a melancholic air, but without a trace of self-pity. A master of dynamics, he could start a ballad with a supple purr and build to a fierce roar, then bring his volume down again without particularly calling attention to the shifts. He also honed a repertoire brimming with songs few other artists performed. While scatting wasn’t his forte, he could belt the blues with authority, or take a pop tune like James Taylor’s “Fire and Rain” and turn it into a jazz epic. Yet for much of his career he was overlooked by record labels and, sadly, under-documented.\u003c/p>\n\u003cp>https://youtu.be/hvis7fL7RCs\u003c/p>\n\u003cp>The confounding thing about Andrews isn’t that he was underappreciated. That’s pretty much the rule rather than the exception when it comes to male jazz singers. What’s so frustrating is that he seemed to come close to popular acclaim so many times. In hindsight, touring and recording as a member of trumpeter Harry James's band during his prime years from the late 1950s through the mid-'60s undermined Andrews’s ability to establish himself as a solo act. During this time before the British Invasion, jazz still occupied some prime cultural real estate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Alto saxophone great Cannonball Adderley made the first attempt at reintroducing Andrews to jazz fans. He’d helped make vocalist Nancy Wilson a star in 1962 and tried the same thing with Andrews two years later with the album \"\u003ca href=\"https://www.allmusic.com/album/live-session%21-mw0000696378\">Live Session\u003c/a>,\" which describes the vocalist on the cover copy as “the exciting new voice,” blithely ignoring that he was already a well-traveled veteran with a hit two decades earlier. My favorite track is “\u003ca href=\"https://www.youtube.com/watch?v=S8Y78o7d3KA\">I’m Always Drunk in San Francisco\u003c/a>,” which could have done for Andrews what “I Left My Heart in San Francisco” did for Tony Bennett, but it never took off.\u003c/p>\n\u003cp>https://youtu.be/S8Y78o7d3KA\u003c/p>\n\u003cp>Guitar great Kenny Burrell featured Andrews on his high-profile \"\u003ca href=\"https://www.youtube.com/watch?v=fEFSeH3pD3E\">Ellington Is Forever\u003c/a>\" projects in the mid-1970s, another showcase that briefly raised the vocalist’s profile. At the same time, he also became the go-to vocalist for several big bands around Southern California, particularly the Capp-Pierce Juggernaut and later \u003ca href=\"https://www.youtube.com/watch?v=IbHmcIRptew\">Gene Harris and the Philip Morris Superband\u003c/a>, an all-star aggregation that toured the world underwritten by the tobacco company. The young lions took a swing at elevating Andrews when the Harper Brothers featured him on their 1992 album \"You Can Hide Inside the Music,\" which may have helped change his luck.\u003c/p>\n\u003cp>https://youtu.be/kK8O6Zuy-N0\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Over the next 12 years, he recorded more consistently than ever before, making half a dozen excellent albums for Muse and HighNote between 1993 and 2005. The last valiant effort to document the ageless Andrews was in 2014 when he was 86 years old and the Clayton-Hamilton Jazz Orchestra recorded \"The LA Treasures Project: Live at Alvas Showroom.\" The album also featured the commanding jazz and blues vocalist Barbara Morrison. They both sound magnificent, with Andrews displaying his impeccable phrasing on the classic Sammy Cahn and Jule Styne ballad “\u003ca href=\"https://www.youtube.com/watch?v=DJ2Uv0VlEUc\">Time After Time\u003c/a>.” Andrews sounds like he’s a lion in winter gently growling about his devotion, embodying jazz’s imperative to sing what you’ve lived.\u003c/p>\n\n","blocks":[],"excerpt":"Andrews was a suave song stylist whose career spanned almost eight decades.","status":"publish","parent":0,"modified":1647037769,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":803},"headData":{"title":"Legendary LA Jazz Vocalist Ernie Andrews Dies at 94 | KQED","description":"Andrews was a suave song stylist whose career spanned almost eight decades.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"11907630 https://ww2.kqed.org/news/?p=11907630","disqusUrl":"https://ww2.kqed.org/news/2022/03/11/after-a-career-spanning-70-years-jazz-vocalist-ernie-andrews-dies-at-94/","disqusTitle":"Legendary LA Jazz Vocalist Ernie Andrews Dies at 94","audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/764be08f-95f9-42da-bc38-ae550136858a/audio.mp3","subhead":"Los Angeles vocalist Ernie Andrews was a suave song stylist whose career spanned almost eight decades. He died in February 2022.","excludeFromSiteSearch":"Include","path":"/news/11907630/after-a-career-spanning-70-years-jazz-vocalist-ernie-andrews-dies-at-94","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Los Angeles vocalist Ernie Andrews was one of jazz’s great ballad and blues men. A suave song stylist whose career spanned almost eight decades, he was one of the last direct links to the glory days of the Central Avenue scene in the 1940s, when LA boasted one of the nation’s most fecund and innovative Black music scenes. While Andrews never quite became a star, he was an indispensable figure in Southern California until his death on Feb. 21 at the age of 94.\u003c/p>\n\u003cfigure id=\"attachment_11907743\" class=\"wp-caption alignright\" style=\"max-width: 371px\">\u003cimg class=\"wp-image-11907743\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54142_Ernie-Andrews-How-About-Me-HighNote-HCD-7151-qut-800x800.jpg\" alt=\"\" width=\"371\" height=\"371\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54142_Ernie-Andrews-How-About-Me-HighNote-HCD-7151-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54142_Ernie-Andrews-How-About-Me-HighNote-HCD-7151-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54142_Ernie-Andrews-How-About-Me-HighNote-HCD-7151-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54142_Ernie-Andrews-How-About-Me-HighNote-HCD-7151-qut-1536x1536.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54142_Ernie-Andrews-How-About-Me-HighNote-HCD-7151-qut.jpg 1920w\" sizes=\"(max-width: 371px) 100vw, 371px\">\u003cfigcaption class=\"wp-caption-text\">Ernie Andrews released the album 'How About Me' in 2006. \u003ccite>(Courtesy HighNote Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in Philadelphia in 1927, Andrews spent several formative years as a teenager in New Orleans, where he started performing professionally. By the time he enrolled at Jefferson High (alongside classmates such as future tenor sax legend Dexter Gordon and trombonist/arranger Melba Liston), he was ready for the big time. After Andrews won a talent show at Central Avenue’s Lincoln Theatre, songwriter Joe Greene approached him about recording some of his material. Andrews wasn’t 18 yet when he scored a minor hit in 1945 with Greene’s “Soothe Me” (a song memorably revived by Shirley Horn in 1991).\u003c/p>\n\u003cp>Inspired by Billy Eckstine’s suave balladry and Jimmy Rushing’s Kansas City blues, Andrews had his own idiosyncratic sound from the beginning. Tall, lean and dapper, he infused even upbeat tunes with a melancholic air, but without a trace of self-pity. A master of dynamics, he could start a ballad with a supple purr and build to a fierce roar, then bring his volume down again without particularly calling attention to the shifts. He also honed a repertoire brimming with songs few other artists performed. While scatting wasn’t his forte, he could belt the blues with authority, or take a pop tune like James Taylor’s “Fire and Rain” and turn it into a jazz epic. Yet for much of his career he was overlooked by record labels and, sadly, under-documented.\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/hvis7fL7RCs'\n title='//www.youtube.com/embed/hvis7fL7RCs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The confounding thing about Andrews isn’t that he was underappreciated. That’s pretty much the rule rather than the exception when it comes to male jazz singers. What’s so frustrating is that he seemed to come close to popular acclaim so many times. In hindsight, touring and recording as a member of trumpeter Harry James's band during his prime years from the late 1950s through the mid-'60s undermined Andrews’s ability to establish himself as a solo act. During this time before the British Invasion, jazz still occupied some prime cultural real estate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Alto saxophone great Cannonball Adderley made the first attempt at reintroducing Andrews to jazz fans. He’d helped make vocalist Nancy Wilson a star in 1962 and tried the same thing with Andrews two years later with the album \"\u003ca href=\"https://www.allmusic.com/album/live-session%21-mw0000696378\">Live Session\u003c/a>,\" which describes the vocalist on the cover copy as “the exciting new voice,” blithely ignoring that he was already a well-traveled veteran with a hit two decades earlier. My favorite track is “\u003ca href=\"https://www.youtube.com/watch?v=S8Y78o7d3KA\">I’m Always Drunk in San Francisco\u003c/a>,” which could have done for Andrews what “I Left My Heart in San Francisco” did for Tony Bennett, but it never took off.\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/S8Y78o7d3KA'\n title='//www.youtube.com/embed/S8Y78o7d3KA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Guitar great Kenny Burrell featured Andrews on his high-profile \"\u003ca href=\"https://www.youtube.com/watch?v=fEFSeH3pD3E\">Ellington Is Forever\u003c/a>\" projects in the mid-1970s, another showcase that briefly raised the vocalist’s profile. At the same time, he also became the go-to vocalist for several big bands around Southern California, particularly the Capp-Pierce Juggernaut and later \u003ca href=\"https://www.youtube.com/watch?v=IbHmcIRptew\">Gene Harris and the Philip Morris Superband\u003c/a>, an all-star aggregation that toured the world underwritten by the tobacco company. The young lions took a swing at elevating Andrews when the Harper Brothers featured him on their 1992 album \"You Can Hide Inside the Music,\" which may have helped change his luck.\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/kK8O6Zuy-N0'\n title='//www.youtube.com/embed/kK8O6Zuy-N0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Over the next 12 years, he recorded more consistently than ever before, making half a dozen excellent albums for Muse and HighNote between 1993 and 2005. The last valiant effort to document the ageless Andrews was in 2014 when he was 86 years old and the Clayton-Hamilton Jazz Orchestra recorded \"The LA Treasures Project: Live at Alvas Showroom.\" The album also featured the commanding jazz and blues vocalist Barbara Morrison. They both sound magnificent, with Andrews displaying his impeccable phrasing on the classic Sammy Cahn and Jule Styne ballad “\u003ca href=\"https://www.youtube.com/watch?v=DJ2Uv0VlEUc\">Time After Time\u003c/a>.” Andrews sounds like he’s a lion in winter gently growling about his devotion, embodying jazz’s imperative to sing what you’ve lived.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11907630/after-a-career-spanning-70-years-jazz-vocalist-ernie-andrews-dies-at-94","authors":["86"],"programs":["news_72","news_26731"],"categories":["news_29992","news_8"],"tags":["news_30783","news_3771","news_4","news_1425"],"featImg":"news_11907742","label":"news_26731"},"news_11825401":{"type":"posts","id":"news_11825401","meta":{"index":"posts_1591205157","site":"news","id":"11825401","score":null,"sort":[1593079241000]},"guestAuthors":[],"slug":"how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it","title":"How ‘Urban Renewal’ Decimated the Fillmore District, and Took Jazz With It","publishDate":1593079241,"format":"standard","headTitle":"How ‘Urban Renewal’ Decimated the Fillmore District, and Took Jazz With It | KQED","labelTerm":{},"content":"\u003cp>If you were walking down San Francisco’s Fillmore Street in the 1950s, chances are you might run into Billie Holiday stepping out of a restaurant. Or Ella Fitzgerald trying on hats. Or Thelonious Monk smoking a cigarette.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>This wouldn’t be out of the ordinary in the “Harlem of the West.”\u003c/p>\n\u003cp>Musician \u003ca href=\"https://afm6.org/member-profile/the-legacy-series-terry-hilliard-bass-i-just-want-to-play/\">Terry Hilliard\u003c/a> started playing at venues in the Fillmore District when he was a student at San Francisco State.\u003c/p>\n\u003cfigure id=\"attachment_11825807\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11825807\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43776_Terry-Hilliard-E.-PIPIN-SILVA-qut.jpg\" alt=\"\" width=\"300\" height=\"201\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43776_Terry-Hilliard-E.-PIPIN-SILVA-qut.jpg 533w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43776_Terry-Hilliard-E.-PIPIN-SILVA-qut-160x107.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Musician Terry Hilliard played bass in the house band at the famous Fillmore jazz venue, Jimbo’s Bop City. \u003ccite>(Elizabeth Pepin Silva)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[The Fillmore] was a place where talent could be developed, whether it be music, art, dancing or whatever it was … it was a place where you could express yourself and be accepted by others and you had an audience,” says Hilliard.\u003c/p>\n\u003cp>But, Hilliard says he doesn’t see that kind of culture anymore today.\u003c/p>\n\u003cp>To understand why the music scene in the Fillmore has changed, you have to go back to when so many of San Francisco’s stories begin: the 1906 earthquake.\u003c/p>\n\u003cp>The Fillmore District, today known as the area defined by Turk Street and Geary Boulevard (its boundaries have changed over the years), was one of the few neighborhoods in San Francisco that survived the earthquake and fire that leveled much of the city.\u003c/p>\n\u003cfigure id=\"attachment_11825808\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11825808\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43774_San_Francisco_Earthquake_of_1906_The_large_building_shown_in_this_picture_is_the_Albert_Pike_Memorial_Masonic_hall..._-_NARA_-_531017-qut-800x650.jpg\" alt=\"\" width=\"800\" height=\"650\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43774_San_Francisco_Earthquake_of_1906_The_large_building_shown_in_this_picture_is_the_Albert_Pike_Memorial_Masonic_hall..._-_NARA_-_531017-qut-800x650.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43774_San_Francisco_Earthquake_of_1906_The_large_building_shown_in_this_picture_is_the_Albert_Pike_Memorial_Masonic_hall..._-_NARA_-_531017-qut-1020x829.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43774_San_Francisco_Earthquake_of_1906_The_large_building_shown_in_this_picture_is_the_Albert_Pike_Memorial_Masonic_hall..._-_NARA_-_531017-qut-160x130.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43774_San_Francisco_Earthquake_of_1906_The_large_building_shown_in_this_picture_is_the_Albert_Pike_Memorial_Masonic_hall..._-_NARA_-_531017-qut-1536x1248.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43774_San_Francisco_Earthquake_of_1906_The_large_building_shown_in_this_picture_is_the_Albert_Pike_Memorial_Masonic_hall..._-_NARA_-_531017-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Buildings like this in the Fillmore District weren’t as damaged as other buildings in San Francisco after the earthquake and fire. \u003ccite>(National Archives at College Park / Public domain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her book, \u003ca href=\"https://www.harlemofthewestsf.com/\">“Harlem of the West”, author and filmmaker Elizabeth Pepin Silva\u003c/a> describes how the Fillmore became the city’s shopping and political center while Market Street was rebuilt. Wanting to capitalize on the neighborhood’s new popularity, the Fillmore Neighborhood Merchants Association decided the district would also become an entertainment center. In 1909, the \u003ca href=\"https://hoodline.com/2015/12/the-chutes-of-fillmore-street\">Fillmore Chutes amusement park was built\u003c/a> and three years after that, the famous Fillmore Auditorium (which was the subject of \u003ca href=\"https://www.kqed.org/news/11731290/how-bill-grahams-nazi-escape-might-explain-his-fillmore-apples\">another Bay Curious episode\u003c/a> because they give free apples to their guests.)\u003c/p>\n\u003cfigure id=\"attachment_11825825\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11825825\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43794_U02710-qut-800x618.jpg\" alt=\"\" width=\"800\" height=\"618\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43794_U02710-qut-800x618.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43794_U02710-qut-1020x788.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43794_U02710-qut-160x124.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43794_U02710-qut.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view of the rollercoaster at the Fillmore Chutes in 1910. \u003ccite>(Courtesy of SFMTA Photo Archive SFMTA.com/Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was a really fun, exciting place,” says Silva. “But it was mainly for white people.”\u003c/p>\n\u003cp>San Francisco in the early 1900’s was segregated, but in the Fillmore it was a bit different. The earthquake had damaged a lot of neighborhoods where people of color were “allowed” to live in the city, but the surviving Fillmore District had inexpensive real estate and a history of accepting immigrants. Through the early 1900s up until the 1940s, you had Filipinos, Mexicans, African Americans, Russians, Japanese Americans and Jewish people living next door to one another.\u003c/p>\n\u003cp>“It became known as one of the most integrated neighborhoods west of the Mississippi,” says Silva.\u003c/p>\n\u003cfigure id=\"attachment_11825875\" class=\"wp-caption alignnone\" style=\"max-width: 613px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11825875\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43802_SFP78-001-339-qut.jpg\" alt=\"\" width=\"613\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43802_SFP78-001-339-qut.jpg 613w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43802_SFP78-001-339-qut-160x104.jpg 160w\" sizes=\"(max-width: 613px) 100vw, 613px\">\u003cfigcaption class=\"wp-caption-text\">Students in the Fillmore District. \u003ccite>(SAN FRANCISCO HISTORY CENTER, SAN FRANCISCO PUBLIC LIBRARY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Changing Neighborhood\u003c/h2>\n\u003cp>Then, Pearl Harbor was bombed on December 7, 1941. Japanese Americans were forced out of their homes and into concentration camps. Simultaneously, African Americans from the Midwest were given free train tickets to come work the shipyards in San Francisco and Richmond, Calif.\u003c/p>\n\u003cp>African Americans arriving in San Francisco moved into empty apartments the Japanese Americans had been forced out of. Between 1940 and 1950, the Black population of San Francisco grew tenfold. By 1945, some 30,000 African Americans were living in the city.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With this surge in population came an explosion in the Fillmore of Black-owned businesses, nightclubs, restaurants and bars.\u003c/p>\n\u003cp>According to Silva, “You could go out on Friday night and not come home until Sunday night because there is so much to do. And so that’s how Fillmore became ‘Harlem of the West.'”\u003c/p>\n\u003cfigure id=\"attachment_11825841\" class=\"wp-caption alignright\" style=\"max-width: 326px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11825841\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43799_MOR-0680-qut.jpg\" alt=\"\" width=\"326\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43799_MOR-0680-qut.jpg 326w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43799_MOR-0680-qut-160x196.jpg 160w\" sizes=\"(max-width: 326px) 100vw, 326px\">\u003cfigcaption class=\"wp-caption-text\">Jazz vocalist Mary Stallings in 1963. \u003ccite>(SAN FRANCISCO HISTORY CENTER, SAN FRANCISCO PUBLIC LIBRARY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.harlemofthewestsf.com/gallery/\">\u003cem>\u003cstrong>Visit the “Harlem of the West” photo gallery for photos of Fillmore’s jazz scene and nightlife.\u003c/strong>\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Reflecting on his time playing bass with house bands in the Fillmore, Terry Hilliard says: “We had great crowds. People dressed up nice. The places were very elegant. There was just a lot of joy.” The Fillmore was also one of the few places where, as a Black man, he could play a venue and enter through the front door: “At the Fillmore, they were Black clubs.”\u003c/p>\n\u003cp>\u003ca href=\"http://marystallingsjazz.com/\">Jazz singer Mary Stallings\u003c/a> was born in the Fillmore District in 1939. Her family came to San Francisco from the Midwest, and she was the first of her 11 siblings born in the city. She started singing gospel in her neighborhood church when she was eight years old and remembers the Fillmore as being full of music all the time.\u003c/p>\n\u003cp>Growing up, Stallings imitated her idols Dinah Washington and Billie Holiday. At jazz clubs in the Fillmore, she not only got to work with these women but got to know them personally.\u003c/p>\n\u003cp>“It was just an amazing experience … and I knew I was living something very special,” she says.\u003c/p>\n\u003cp>But Stallings and Hilliard both say it wasn’t just the music that made the Fillmore special.\u003c/p>\n\u003cfigure id=\"attachment_11825810\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11825810 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43777_ap-sf-jazz-300x215-qut.jpg\" alt=\"\" width=\"300\" height=\"215\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43777_ap-sf-jazz-300x215-qut.jpg 300w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43777_ap-sf-jazz-300x215-qut-160x115.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Mary Stallings performing at SF Jazz. \u003ccite>(Courtesy of Mary Stallings)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You felt like you were cared for, you know? You had a home life but everybody else was your family too,” Stallings says.\u003c/p>\n\u003ch2>So what happened to the Fillmore?\u003c/h2>\n\u003cp>After World War II, President Truman signed the \u003ca href=\"https://www.loc.gov/law/help/statutes-at-large/81st-congress/session-1/c81s1ch338.pdf\">1949 Housing Act\u003c/a>, which authorized the demolition and reconstruction of urban neighborhoods that were considered slums. This policy — “redevelopment” — specifically targeted neighborhoods that were low income and not-white. In the 1960s, with its old Victorian houses and mostly Black population, the Fillmore became the focus of San Francisco’s urban renewal.\u003c/p>\n\u003cfigure id=\"attachment_11825811\" class=\"wp-caption aligncenter\" style=\"max-width: 631px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11825811 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43778_kron_redev_map-qut.jpg\" alt=\"\" width=\"631\" height=\"477\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43778_kron_redev_map-qut.jpg 631w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43778_kron_redev_map-qut-160x121.jpg 160w\" sizes=\"(max-width: 631px) 100vw, 631px\">\u003cfigcaption class=\"wp-caption-text\">A map of redevelopment in the Fillmore District and Western Addition. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jazz clubs were shuttered. Businesses torn down. Two-lane Geary Street turned into a giant expressway, Geary Boulevard, slicing through the heart of the neighborhood. Residents were forced out of their homes, often without much warning or adequate compensation. To city planners, this was urban renewal, but to the residents of the Fillmore, it felt like something else.\u003c/p>\n\u003cp>In \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/216518\">James Baldwin’s 1963 documentary, Take This Hammer, (produced by KQED)\u003c/a> Baldwin comes to San Francisco to interview the city’s Black residents. Driving through neighborhoods like the Fillmore, he remarks that redevelopment is “removal of Negroes” and that despite San Francisco’s progressive image, it was no different from Birmingham, Alabama.\u003c/p>\n\u003cp>“I imagine it’d be easy for any white person walking through San Francisco to imagine everything was at peace,” Baldwin says. “Because it certainly looks that way on the surface. You’ve got the San Francisco legend too which is that it’s a cosmopolitan and forward looking. But it’s another American city.”\u003c/p>\n\u003cp>The redevelopment of the Fillmore was one of the largest projects of urban renewal on the West Coast. It impacted nearly 20,000 people. And by the time new housing and storefronts were finally completed in the 1980s, most of the former Fillmore residents couldn’t afford to move back in.\u003c/p>\n\u003cfigure id=\"attachment_11825846\" class=\"wp-caption alignnone\" style=\"max-width: 587px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11825846\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43796_AAZ-0828-qut.jpg\" alt=\"\" width=\"587\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43796_AAZ-0828-qut.jpg 587w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43796_AAZ-0828-qut-160x109.jpg 160w\" sizes=\"(max-width: 587px) 100vw, 587px\">\u003cfigcaption class=\"wp-caption-text\">An aerial photo of the redevelopment site in the 1970’s shows how extensive the destruction of the Fillmore was. \u003ccite>(SAN FRANCISCO HISTORY CENTER, SAN FRANCISCO PUBLIC LIBRARY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to the U.S. census, in the 1970s 10% of San Francisco’s population identified as Black. Today, that number is half. Mary Stallings still lives in San Francisco, but says going back to the Fillmore now breaks her heart.\u003c/p>\n\u003cp>“I was trying to explain that in another interview I didn’t get very far because I cried like a baby … I missed the community feeling, the feeling of family,” she explains.\u003c/p>\n\u003cp>Terry Hilliard lives in Oakland now. He kept playing music in the Bay Area, but says all the musicians he played with back then eventually left and went to New York. They couldn’t afford to live here.\u003c/p>\n\u003cfigure id=\"attachment_11825851\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11825851 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43800_38708170365_93f7120426_k-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43800_38708170365_93f7120426_k-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43800_38708170365_93f7120426_k-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43800_38708170365_93f7120426_k-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43800_38708170365_93f7120426_k-qut-1536x864.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43800_38708170365_93f7120426_k-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Boom Boom Room on Geary and Fillmore. \u003ccite>(Flickr Creative Commons: Dale Cruse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jazz in the Fillmore isn’t entirely dead. Before the COVID-19 pandemic, you could catch a live jazz show at the \u003ca href=\"https://boomboomroom.com/\">Boom Boom Room\u003c/a> on Fillmore and Geary. The \u003ca href=\"http://www.fillmorejazzfest.com/\">Fillmore Jazz Festival\u003c/a> draws big performers each summer (although as of now, it is postponed). And organizations like \u003ca href=\"https://fillmorejazzambassadors.org/\">Fillmore Jazz Ambassadors\u003c/a> are dedicated to reviving jazz in the city.\u003c/p>\n\u003cp>But to those who lived it, it is “Harlem of the West” no longer.\u003c/p>\n\u003ch3 id=\"playlist\">Listen to our Fillmore Jazz playlist\u003c/h3>\n\u003cp>Featuring a sampling of artists who played in the Fillmore during its heyday\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/50Sj6jVDUiUHgxSd95dSch\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"To understand why the jazz music scene in the Fillmore has changed, you have to go back to when so many of San Francisco's stories begin: the 1906 earthquake.","status":"publish","parent":0,"modified":1700590307,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":37,"wordCount":1493},"headData":{"title":"How ‘Urban Renewal’ Decimated the Fillmore District, and Took Jazz With It | KQED","description":"To understand why the jazz music scene in the Fillmore has changed, you have to go back to when so many of San Francisco's stories begin: the 1906 earthquake.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"source":"Bay Curious","sourceUrl":"https://www.kqed.org/podcasts/baycurious","audioUrl":"https://traffic.megaphone.fm/KQINC5432141338.mp3","path":"/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you were walking down San Francisco’s Fillmore Street in the 1950s, chances are you might run into Billie Holiday stepping out of a restaurant. Or Ella Fitzgerald trying on hats. Or Thelonious Monk smoking a cigarette.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This wouldn’t be out of the ordinary in the “Harlem of the West.”\u003c/p>\n\u003cp>Musician \u003ca href=\"https://afm6.org/member-profile/the-legacy-series-terry-hilliard-bass-i-just-want-to-play/\">Terry Hilliard\u003c/a> started playing at venues in the Fillmore District when he was a student at San Francisco State.\u003c/p>\n\u003cfigure id=\"attachment_11825807\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11825807\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43776_Terry-Hilliard-E.-PIPIN-SILVA-qut.jpg\" alt=\"\" width=\"300\" height=\"201\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43776_Terry-Hilliard-E.-PIPIN-SILVA-qut.jpg 533w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43776_Terry-Hilliard-E.-PIPIN-SILVA-qut-160x107.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Musician Terry Hilliard played bass in the house band at the famous Fillmore jazz venue, Jimbo’s Bop City. \u003ccite>(Elizabeth Pepin Silva)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[The Fillmore] was a place where talent could be developed, whether it be music, art, dancing or whatever it was … it was a place where you could express yourself and be accepted by others and you had an audience,” says Hilliard.\u003c/p>\n\u003cp>But, Hilliard says he doesn’t see that kind of culture anymore today.\u003c/p>\n\u003cp>To understand why the music scene in the Fillmore has changed, you have to go back to when so many of San Francisco’s stories begin: the 1906 earthquake.\u003c/p>\n\u003cp>The Fillmore District, today known as the area defined by Turk Street and Geary Boulevard (its boundaries have changed over the years), was one of the few neighborhoods in San Francisco that survived the earthquake and fire that leveled much of the city.\u003c/p>\n\u003cfigure id=\"attachment_11825808\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11825808\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43774_San_Francisco_Earthquake_of_1906_The_large_building_shown_in_this_picture_is_the_Albert_Pike_Memorial_Masonic_hall..._-_NARA_-_531017-qut-800x650.jpg\" alt=\"\" width=\"800\" height=\"650\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43774_San_Francisco_Earthquake_of_1906_The_large_building_shown_in_this_picture_is_the_Albert_Pike_Memorial_Masonic_hall..._-_NARA_-_531017-qut-800x650.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43774_San_Francisco_Earthquake_of_1906_The_large_building_shown_in_this_picture_is_the_Albert_Pike_Memorial_Masonic_hall..._-_NARA_-_531017-qut-1020x829.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43774_San_Francisco_Earthquake_of_1906_The_large_building_shown_in_this_picture_is_the_Albert_Pike_Memorial_Masonic_hall..._-_NARA_-_531017-qut-160x130.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43774_San_Francisco_Earthquake_of_1906_The_large_building_shown_in_this_picture_is_the_Albert_Pike_Memorial_Masonic_hall..._-_NARA_-_531017-qut-1536x1248.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43774_San_Francisco_Earthquake_of_1906_The_large_building_shown_in_this_picture_is_the_Albert_Pike_Memorial_Masonic_hall..._-_NARA_-_531017-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Buildings like this in the Fillmore District weren’t as damaged as other buildings in San Francisco after the earthquake and fire. \u003ccite>(National Archives at College Park / Public domain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her book, \u003ca href=\"https://www.harlemofthewestsf.com/\">“Harlem of the West”, author and filmmaker Elizabeth Pepin Silva\u003c/a> describes how the Fillmore became the city’s shopping and political center while Market Street was rebuilt. Wanting to capitalize on the neighborhood’s new popularity, the Fillmore Neighborhood Merchants Association decided the district would also become an entertainment center. In 1909, the \u003ca href=\"https://hoodline.com/2015/12/the-chutes-of-fillmore-street\">Fillmore Chutes amusement park was built\u003c/a> and three years after that, the famous Fillmore Auditorium (which was the subject of \u003ca href=\"https://www.kqed.org/news/11731290/how-bill-grahams-nazi-escape-might-explain-his-fillmore-apples\">another Bay Curious episode\u003c/a> because they give free apples to their guests.)\u003c/p>\n\u003cfigure id=\"attachment_11825825\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11825825\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43794_U02710-qut-800x618.jpg\" alt=\"\" width=\"800\" height=\"618\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43794_U02710-qut-800x618.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43794_U02710-qut-1020x788.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43794_U02710-qut-160x124.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43794_U02710-qut.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view of the rollercoaster at the Fillmore Chutes in 1910. \u003ccite>(Courtesy of SFMTA Photo Archive SFMTA.com/Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was a really fun, exciting place,” says Silva. “But it was mainly for white people.”\u003c/p>\n\u003cp>San Francisco in the early 1900’s was segregated, but in the Fillmore it was a bit different. The earthquake had damaged a lot of neighborhoods where people of color were “allowed” to live in the city, but the surviving Fillmore District had inexpensive real estate and a history of accepting immigrants. Through the early 1900s up until the 1940s, you had Filipinos, Mexicans, African Americans, Russians, Japanese Americans and Jewish people living next door to one another.\u003c/p>\n\u003cp>“It became known as one of the most integrated neighborhoods west of the Mississippi,” says Silva.\u003c/p>\n\u003cfigure id=\"attachment_11825875\" class=\"wp-caption alignnone\" style=\"max-width: 613px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11825875\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43802_SFP78-001-339-qut.jpg\" alt=\"\" width=\"613\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43802_SFP78-001-339-qut.jpg 613w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43802_SFP78-001-339-qut-160x104.jpg 160w\" sizes=\"(max-width: 613px) 100vw, 613px\">\u003cfigcaption class=\"wp-caption-text\">Students in the Fillmore District. \u003ccite>(SAN FRANCISCO HISTORY CENTER, SAN FRANCISCO PUBLIC LIBRARY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Changing Neighborhood\u003c/h2>\n\u003cp>Then, Pearl Harbor was bombed on December 7, 1941. Japanese Americans were forced out of their homes and into concentration camps. Simultaneously, African Americans from the Midwest were given free train tickets to come work the shipyards in San Francisco and Richmond, Calif.\u003c/p>\n\u003cp>African Americans arriving in San Francisco moved into empty apartments the Japanese Americans had been forced out of. Between 1940 and 1950, the Black population of San Francisco grew tenfold. By 1945, some 30,000 African Americans were living in the city.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With this surge in population came an explosion in the Fillmore of Black-owned businesses, nightclubs, restaurants and bars.\u003c/p>\n\u003cp>According to Silva, “You could go out on Friday night and not come home until Sunday night because there is so much to do. And so that’s how Fillmore became ‘Harlem of the West.'”\u003c/p>\n\u003cfigure id=\"attachment_11825841\" class=\"wp-caption alignright\" style=\"max-width: 326px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11825841\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43799_MOR-0680-qut.jpg\" alt=\"\" width=\"326\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43799_MOR-0680-qut.jpg 326w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43799_MOR-0680-qut-160x196.jpg 160w\" sizes=\"(max-width: 326px) 100vw, 326px\">\u003cfigcaption class=\"wp-caption-text\">Jazz vocalist Mary Stallings in 1963. \u003ccite>(SAN FRANCISCO HISTORY CENTER, SAN FRANCISCO PUBLIC LIBRARY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.harlemofthewestsf.com/gallery/\">\u003cem>\u003cstrong>Visit the “Harlem of the West” photo gallery for photos of Fillmore’s jazz scene and nightlife.\u003c/strong>\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Reflecting on his time playing bass with house bands in the Fillmore, Terry Hilliard says: “We had great crowds. People dressed up nice. The places were very elegant. There was just a lot of joy.” The Fillmore was also one of the few places where, as a Black man, he could play a venue and enter through the front door: “At the Fillmore, they were Black clubs.”\u003c/p>\n\u003cp>\u003ca href=\"http://marystallingsjazz.com/\">Jazz singer Mary Stallings\u003c/a> was born in the Fillmore District in 1939. Her family came to San Francisco from the Midwest, and she was the first of her 11 siblings born in the city. She started singing gospel in her neighborhood church when she was eight years old and remembers the Fillmore as being full of music all the time.\u003c/p>\n\u003cp>Growing up, Stallings imitated her idols Dinah Washington and Billie Holiday. At jazz clubs in the Fillmore, she not only got to work with these women but got to know them personally.\u003c/p>\n\u003cp>“It was just an amazing experience … and I knew I was living something very special,” she says.\u003c/p>\n\u003cp>But Stallings and Hilliard both say it wasn’t just the music that made the Fillmore special.\u003c/p>\n\u003cfigure id=\"attachment_11825810\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11825810 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43777_ap-sf-jazz-300x215-qut.jpg\" alt=\"\" width=\"300\" height=\"215\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43777_ap-sf-jazz-300x215-qut.jpg 300w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43777_ap-sf-jazz-300x215-qut-160x115.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Mary Stallings performing at SF Jazz. \u003ccite>(Courtesy of Mary Stallings)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You felt like you were cared for, you know? You had a home life but everybody else was your family too,” Stallings says.\u003c/p>\n\u003ch2>So what happened to the Fillmore?\u003c/h2>\n\u003cp>After World War II, President Truman signed the \u003ca href=\"https://www.loc.gov/law/help/statutes-at-large/81st-congress/session-1/c81s1ch338.pdf\">1949 Housing Act\u003c/a>, which authorized the demolition and reconstruction of urban neighborhoods that were considered slums. This policy — “redevelopment” — specifically targeted neighborhoods that were low income and not-white. In the 1960s, with its old Victorian houses and mostly Black population, the Fillmore became the focus of San Francisco’s urban renewal.\u003c/p>\n\u003cfigure id=\"attachment_11825811\" class=\"wp-caption aligncenter\" style=\"max-width: 631px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11825811 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43778_kron_redev_map-qut.jpg\" alt=\"\" width=\"631\" height=\"477\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43778_kron_redev_map-qut.jpg 631w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43778_kron_redev_map-qut-160x121.jpg 160w\" sizes=\"(max-width: 631px) 100vw, 631px\">\u003cfigcaption class=\"wp-caption-text\">A map of redevelopment in the Fillmore District and Western Addition. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jazz clubs were shuttered. Businesses torn down. Two-lane Geary Street turned into a giant expressway, Geary Boulevard, slicing through the heart of the neighborhood. Residents were forced out of their homes, often without much warning or adequate compensation. To city planners, this was urban renewal, but to the residents of the Fillmore, it felt like something else.\u003c/p>\n\u003cp>In \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/216518\">James Baldwin’s 1963 documentary, Take This Hammer, (produced by KQED)\u003c/a> Baldwin comes to San Francisco to interview the city’s Black residents. Driving through neighborhoods like the Fillmore, he remarks that redevelopment is “removal of Negroes” and that despite San Francisco’s progressive image, it was no different from Birmingham, Alabama.\u003c/p>\n\u003cp>“I imagine it’d be easy for any white person walking through San Francisco to imagine everything was at peace,” Baldwin says. “Because it certainly looks that way on the surface. You’ve got the San Francisco legend too which is that it’s a cosmopolitan and forward looking. But it’s another American city.”\u003c/p>\n\u003cp>The redevelopment of the Fillmore was one of the largest projects of urban renewal on the West Coast. It impacted nearly 20,000 people. And by the time new housing and storefronts were finally completed in the 1980s, most of the former Fillmore residents couldn’t afford to move back in.\u003c/p>\n\u003cfigure id=\"attachment_11825846\" class=\"wp-caption alignnone\" style=\"max-width: 587px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11825846\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43796_AAZ-0828-qut.jpg\" alt=\"\" width=\"587\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43796_AAZ-0828-qut.jpg 587w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43796_AAZ-0828-qut-160x109.jpg 160w\" sizes=\"(max-width: 587px) 100vw, 587px\">\u003cfigcaption class=\"wp-caption-text\">An aerial photo of the redevelopment site in the 1970’s shows how extensive the destruction of the Fillmore was. \u003ccite>(SAN FRANCISCO HISTORY CENTER, SAN FRANCISCO PUBLIC LIBRARY)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to the U.S. census, in the 1970s 10% of San Francisco’s population identified as Black. Today, that number is half. Mary Stallings still lives in San Francisco, but says going back to the Fillmore now breaks her heart.\u003c/p>\n\u003cp>“I was trying to explain that in another interview I didn’t get very far because I cried like a baby … I missed the community feeling, the feeling of family,” she explains.\u003c/p>\n\u003cp>Terry Hilliard lives in Oakland now. He kept playing music in the Bay Area, but says all the musicians he played with back then eventually left and went to New York. They couldn’t afford to live here.\u003c/p>\n\u003cfigure id=\"attachment_11825851\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11825851 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43800_38708170365_93f7120426_k-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43800_38708170365_93f7120426_k-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43800_38708170365_93f7120426_k-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43800_38708170365_93f7120426_k-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43800_38708170365_93f7120426_k-qut-1536x864.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/06/RS43800_38708170365_93f7120426_k-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Boom Boom Room on Geary and Fillmore. \u003ccite>(Flickr Creative Commons: Dale Cruse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jazz in the Fillmore isn’t entirely dead. Before the COVID-19 pandemic, you could catch a live jazz show at the \u003ca href=\"https://boomboomroom.com/\">Boom Boom Room\u003c/a> on Fillmore and Geary. The \u003ca href=\"http://www.fillmorejazzfest.com/\">Fillmore Jazz Festival\u003c/a> draws big performers each summer (although as of now, it is postponed). And organizations like \u003ca href=\"https://fillmorejazzambassadors.org/\">Fillmore Jazz Ambassadors\u003c/a> are dedicated to reviving jazz in the city.\u003c/p>\n\u003cp>But to those who lived it, it is “Harlem of the West” no longer.\u003c/p>\n\u003ch3 id=\"playlist\">Listen to our Fillmore Jazz playlist\u003c/h3>\n\u003cp>Featuring a sampling of artists who played in the Fillmore during its heyday\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/50Sj6jVDUiUHgxSd95dSch\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11825401/how-urban-renewal-decimated-the-fillmore-district-and-took-jazz-with-it","authors":["11365"],"programs":["news_33523"],"series":["news_17986"],"categories":["news_223","news_8","news_33520"],"tags":["news_27626","news_22210","news_4613","news_160","news_3771","news_38"],"featImg":"news_11825842","label":"source_news_11825401"},"news_11717944":{"type":"posts","id":"news_11717944","meta":{"index":"posts_1591205157","site":"news","id":"11717944","score":null,"sort":[1548549204000]},"guestAuthors":[],"slug":"from-tortillas-to-jazz-club-to-chips-and-salsa-the-evolution-of-casa-sanchez","title":"From Tortillas and a Jazz Club to Chips and Salsa: The Legendary Evolution of Casa Sanchez","publishDate":1548549204,"format":"audio","headTitle":"Family Biz | The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>Back in 1999, a Mexican restaurant in San Francisco's Mission District made national news for an unconventional marketing deal. The family-run business Casa Sanchez advertised a special: anyone who got a tattoo of their logo was entitled to a free lunch for life.\u003c/p>\n\u003cp>And as wild as the idea was, so many people wanted to ink the logo — a man riding a corn-shaped rocket wearing a yellow sombrero known as \"Jimmy the Cornman\" — the Sanchez family had to cap the promotion to the first 50 people.\u003c/p>\n\u003cfigure id=\"attachment_11718225\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11718225\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/01/RS34658_008-qut-800x660.jpg\" alt=\"\" width=\"800\" height=\"660\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34658_008-qut-800x660.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34658_008-qut-160x132.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34658_008-qut-1020x842.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34658_008-qut-1200x991.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34658_008-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beginning in the early 1920s, the Sanchez family ran a shop and factory in San Francisco's Fillmore District before moving to the Mission District. \u003ccite>(Courtesy of Robert C. Sanchez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the family behind the business had been pioneering Mexican food staples in Northern California long before Jimmy the Cornman gained a cult-like following.\u003c/p>\n\u003cp>Despite family deaths, changing trends, location moves and fierce competition, the Sanchez family has managed to keep the business going for nearly 100 years.\u003c/p>\n\u003ch3>Shape Shifting to Keep Up with Changing Times\u003c/h3>\n\u003cp>The Casa Sanchez story begins in the early 1900s when Roberto Sanchez left Nayarit, Mexico, for San Francisco. According to family lore, he made the journey with a 20-pound wrought-iron tortilla press and dreams of running a successful business.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Together, he and his wife, Isabella, opened R. Sanchez and Co. in San Francisco's Fillmore District in 1923. The Mexicatessen sold enchiladas, tamales and tortillas by the pound. By the 1950s, the family opened the first mechanized tortilla factory in Northern California.\u003c/p>\n\u003cfigure id=\"attachment_11718216\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11718216\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/01/RS34657_015-qut-800x581.jpg\" alt=\"\" width=\"800\" height=\"581\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34657_015-qut-800x581.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34657_015-qut-160x116.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34657_015-qut-1020x741.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34657_015-qut-1200x872.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34657_015-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In 1923, Roberto Sanchez established R. Sanchez & Co. and nearly 100 years later, his descendants continue to carry on the business. \u003ccite>(Courtesy of Robert C. Sanchez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1960s, when the Fillmore was known as a hot spot for jazz and bebop, the Sanchez family decided to open a jazz club next to their tortilla factory.\u003c/p>\n\u003cp>They called it Club Sanchez, and as a Mexican-American establishment, it attracted a multicultural audience, including jazz legends like Charlie Parker.\u003c/p>\n\u003cp>“They had opera singers, they had belly dancers. There were a lot of spontaneous musicians that would just come in. It was just so vibrant,” explains Martha Sanchez, Roberto and Isabella's granddaughter. She is part of the third generation Casa Sanchez owners.\u003c/p>\n\u003cfigure id=\"attachment_11718219\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11718219\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/01/RS34659_012-qut-800x683.jpg\" alt=\"\" width=\"800\" height=\"683\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34659_012-qut-800x683.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34659_012-qut-160x137.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34659_012-qut-1020x870.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34659_012-qut-1200x1024.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34659_012-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Sanchez family opened their own jazz club called Club Sanchez during the heyday of the Fillmore's jazz and bebop scene. \u003ccite>(Courtesy of Robert C. Sanchez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a child, Martha and her siblings would hang out at Club Sanchez. She remembers eating too many cherries reserved for cocktail drinks and admiring her stylish tías (aunts) who ran the club. They wore '60s bouffant hairstyles and off-the-shoulder blouses.\u003c/p>\n\u003ch3>New Location, New Casa Sanchez\u003c/h3>\n\u003cp>When the Sanchez family noticed their Latino customer base moving out of the Fillmore, they closed the tortilla factory and jazz club and headed to San Francisco's Mission District.\u003c/p>\n\u003cp>In 1968, they reopened their factory on 24th Street, this time with a Mexican restaurant called Casa Sanchez. The restaurant wasn’t just a place to eat; it became a neighborhood institution.\u003c/p>\n\u003cp>“I remember on Sundays my mom would make breakfast at the restaurant,\" Martha said. \"The whole neighborhood would come. I thought they came to see me, but they came for my mom's bacon and eggs that you could smell up and down the streets.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BBGpFswpDjX/?utm_source=ig_web_options_share_sheet\u003c/p>\n\u003cp>While the restaurant side of the business boomed, the tortilla enterprise began struggling in the late ‘80s.\u003c/p>\n\u003cp>\"A loaf of bread went up to two dollars, but the tortillas stayed at 25 cents,” said Liz, Martha’s sister.\u003c/p>\n\u003cp>Wholesale tortilla production, once the backbone to their business, was no longer profitable. Their big restaurant clients were manufacturing their own, and they had to compete with newer tortilla factories in the Mission.\u003c/p>\n\u003cp>So once again, the Sanchez family needed to figure out a new way to keep their doors open.\u003c/p>\n\u003ch3>Salsa as Savior\u003c/h3>\n\u003cp>As it turned out, the answer was salsa. The Sanchez family had already been making their own homemade red salsa in their restaurant, but once plastic became readily available in the 1970s, the opportunity to sell their salsa outside the restaurant opened up.\u003c/p>\n\u003cp>After months looking for the right kind of plastic tub — one that could preserve fresh ingredients the longest — the family began selling their fresh-packaged red salsa. Up until this point, store-bought salsa was limited to the jarred kind.\u003c/p>\n\u003cp>In the 1990s, they landed a big contract with Safeway Inc. and began selling their “mild salsa roja” to other major grocery stores as well.\u003c/p>\n\u003cp>Meanwhile, the leftover tortillas that weren’t commercially selling were being used to make tortilla chips.\u003c/p>\n\u003cp>“I'd use my mom's minivan to go and deliver the product,” said Rob Aranda, a fourth generation Sanchez family member, who remembers delivering tubs of their salsa to local grocery stores around the city as a teenager. “I got pulled over for not having a license. But they would just give me a ticket and not tow the car.”\u003c/p>\n\u003cp>Aranda was so committed to his delivery route that the only day he skipped was the day of his junior prom.\u003c/p>\n\u003cp>“I'd get up every day at 5 in the morning [when I was] 8-, 9-years-old and help my grandmother out,\" Aranda said. \"I naturally learned the business just watching and looking.”\u003c/p>\n\u003cp>His love for the business runs skin deep. He even has his own Jimmy the Cornman tattoo.\u003c/p>\n\u003cp>In 2010, during the recession, the Sanchez family brought back the famous tattoo special. This time they called it the “stimulus social” to appeal to locals hit by hard financial times.\u003c/p>\n\u003cfigure id=\"attachment_11718227\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11718227\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/01/RS34656_IMG_4778-qut-1-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34656_IMG_4778-qut-1-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34656_IMG_4778-qut-1-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34656_IMG_4778-qut-1-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34656_IMG_4778-qut-1-900x1200.jpg 900w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34656_IMG_4778-qut-1.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Casa Sanchez restaurant that attracted national attention for its special: a free meal for anyone with a 'Jimmy the Cornman' tattoo. \u003ccite>(Marisol Medina-Cadena/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The following year, Robert’s grandmother (also named Martha) died — she was the restaurant owner and matriarch of the family who came up with the idea to sell chips and salsa — so, four years later her children closed their restaurant doors.\u003c/p>\n\u003cp>But this was not the end of the Sanchez story. The family moved once again and expanded to two separate locations to focus solely on wholesale fresh salsa and tortilla chips.\u003c/p>\n\u003ch3>Casa Sanchez Today\u003c/h3>\n\u003cp>These days, Rob Aranda runs the factory located in San Francisco's Bayview, and he’s bringing up the next generation to help out.\u003c/p>\n\u003cp>“My son comes in during the summer and loves to put the labels on the containers and be part of everything,” he said.\u003c/p>\n\u003cp>Inside the factory kitchen, there’s the strong aroma of onions and jalapeño peppers. Workers are busy mixing large tubs of the mild red salsa.\u003c/p>\n\u003cp>So far, no one has been able to figure out the secret to the family's red salsa.\u003c/p>\n\u003cp>“There was a website dedicated to deciphering the recipe,\" Martha Sanchez said. \"One person posted that it was a combination of seven different chiles.”\u003c/p>\n\u003cfigure id=\"attachment_11719370\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11719370 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/01/e2055435-rs34684_jimmy-the-cornman-2-qut-800x588.jpg\" alt=\"\" width=\"800\" height=\"588\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/01/e2055435-rs34684_jimmy-the-cornman-2-qut-800x588.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/e2055435-rs34684_jimmy-the-cornman-2-qut-160x118.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/e2055435-rs34684_jimmy-the-cornman-2-qut-1020x749.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/e2055435-rs34684_jimmy-the-cornman-2-qut-1200x881.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/e2055435-rs34684_jimmy-the-cornman-2-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jimmy the Cornman has become an icon of San Francisco's Mission District. \u003ccite>(Marisol Medina-Cadena/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The secret has more to do with the process than the actual ingredients. Aranda notes that one employee spends his mornings massaging more than 12,000 pounds of tomatoes to unlock the fresh taste.\u003c/p>\n\u003cp>The factory itself is tiny, but bustling. Outside the kitchen is the warehouse where boxes of Casa Sanchez tortilla chips crowd the space. The chips get made at their factory in Hayward and ship out to the Bayview location every day.\u003c/p>\n\u003cp>“It's like Grand Central Station at 4 in the morning here,\" Martha said. \"You can't get through.”\u003c/p>\n\u003cfigure id=\"attachment_11721171\" class=\"wp-caption alignright\" style=\"max-width: 598px\">\u003cimg class=\"wp-image-11721171 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/01/Screen-Shot-2019-01-25-at-3.35.25-PM.png\" alt=\"\" width=\"598\" height=\"573\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/01/Screen-Shot-2019-01-25-at-3.35.25-PM.png 598w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/Screen-Shot-2019-01-25-at-3.35.25-PM-160x153.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/Screen-Shot-2019-01-25-at-3.35.25-PM-32x32.png 32w\" sizes=\"(max-width: 598px) 100vw, 598px\">\u003cfigcaption class=\"wp-caption-text\">\"Just another day at the office.\" Instagram photo by @casasanchezfoods\u003c/figcaption>\u003c/figure>\n\u003cp>Images of La Virgen de Guadalupe and family photos adorn the walls. There’s one prominent picture featuring young Martha and her family posed in front of their businesses. It looks like the Mexican-American version of \"The Brady Bunch.\"\u003c/p>\n\u003cp>Together the Sanchez family is still coming up with new ways to keep up with the changing times. Recently, they produced a Casa Sanchez IPA beer named “Holy Guacamole” and a smartphone game called “Salsa Shooter.”\u003c/p>\n\u003cp>“We don't really think of ourselves as businesspeople,\" Martha said. \"We're just doing things together.\"\u003c/p>\n\u003cp>While the family has no plans to reopen its Casa Sanchez restaurant, the Jimmy the Cornman sign remains on the former Mission storefront. A pupuseria run by a different family now fills the space, and as part of its lease, the restaurant offers free pupusas to anyone with the Jimmy the Cornman logo.\u003c/p>\n\u003cp>https://www.instagram.com/p/Bq8E0chA9cw/?utm_source=ig_web_options_share_sheet\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Casa Sanchez delivery truck drivers honor this legendary special too. If you see a Casa Sanchez truck at your nearby grocery store, just flash your ink of Jimmy the Cornman and you’ll get your share of fresh salsa and chips.\u003c/p>\n\n","blocks":[],"excerpt":"Nearly 100 years since the original Mexican food business opened, the family behind Casa Sanchez is still coming up with new ways to keep up with the changing times. ","status":"publish","parent":0,"modified":1553972816,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":43,"wordCount":1532},"headData":{"title":"From Tortillas and a Jazz Club to Chips and Salsa: The Legendary Evolution of Casa Sanchez | KQED","description":"Nearly 100 years since the original Mexican food business opened, the family behind Casa Sanchez is still coming up with new ways to keep up with the changing times. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"11717944 https://ww2.kqed.org/news/?p=11717944","disqusUrl":"https://ww2.kqed.org/news/2019/01/26/from-tortillas-to-jazz-club-to-chips-and-salsa-the-evolution-of-casa-sanchez/","disqusTitle":"From Tortillas and a Jazz Club to Chips and Salsa: The Legendary Evolution of Casa Sanchez","audioUrl":"https://www.kqed.org/.stream/anon/radio/tcrmag/2019/01/CasaSanchez.mp3","audioTrackLength":363,"path":"/news/11717944/from-tortillas-to-jazz-club-to-chips-and-salsa-the-evolution-of-casa-sanchez","audioDuration":375000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in 1999, a Mexican restaurant in San Francisco's Mission District made national news for an unconventional marketing deal. The family-run business Casa Sanchez advertised a special: anyone who got a tattoo of their logo was entitled to a free lunch for life.\u003c/p>\n\u003cp>And as wild as the idea was, so many people wanted to ink the logo — a man riding a corn-shaped rocket wearing a yellow sombrero known as \"Jimmy the Cornman\" — the Sanchez family had to cap the promotion to the first 50 people.\u003c/p>\n\u003cfigure id=\"attachment_11718225\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11718225\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/01/RS34658_008-qut-800x660.jpg\" alt=\"\" width=\"800\" height=\"660\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34658_008-qut-800x660.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34658_008-qut-160x132.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34658_008-qut-1020x842.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34658_008-qut-1200x991.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34658_008-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beginning in the early 1920s, the Sanchez family ran a shop and factory in San Francisco's Fillmore District before moving to the Mission District. \u003ccite>(Courtesy of Robert C. Sanchez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the family behind the business had been pioneering Mexican food staples in Northern California long before Jimmy the Cornman gained a cult-like following.\u003c/p>\n\u003cp>Despite family deaths, changing trends, location moves and fierce competition, the Sanchez family has managed to keep the business going for nearly 100 years.\u003c/p>\n\u003ch3>Shape Shifting to Keep Up with Changing Times\u003c/h3>\n\u003cp>The Casa Sanchez story begins in the early 1900s when Roberto Sanchez left Nayarit, Mexico, for San Francisco. According to family lore, he made the journey with a 20-pound wrought-iron tortilla press and dreams of running a successful business.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Together, he and his wife, Isabella, opened R. Sanchez and Co. in San Francisco's Fillmore District in 1923. The Mexicatessen sold enchiladas, tamales and tortillas by the pound. By the 1950s, the family opened the first mechanized tortilla factory in Northern California.\u003c/p>\n\u003cfigure id=\"attachment_11718216\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11718216\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/01/RS34657_015-qut-800x581.jpg\" alt=\"\" width=\"800\" height=\"581\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34657_015-qut-800x581.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34657_015-qut-160x116.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34657_015-qut-1020x741.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34657_015-qut-1200x872.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34657_015-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In 1923, Roberto Sanchez established R. Sanchez & Co. and nearly 100 years later, his descendants continue to carry on the business. \u003ccite>(Courtesy of Robert C. Sanchez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1960s, when the Fillmore was known as a hot spot for jazz and bebop, the Sanchez family decided to open a jazz club next to their tortilla factory.\u003c/p>\n\u003cp>They called it Club Sanchez, and as a Mexican-American establishment, it attracted a multicultural audience, including jazz legends like Charlie Parker.\u003c/p>\n\u003cp>“They had opera singers, they had belly dancers. There were a lot of spontaneous musicians that would just come in. It was just so vibrant,” explains Martha Sanchez, Roberto and Isabella's granddaughter. She is part of the third generation Casa Sanchez owners.\u003c/p>\n\u003cfigure id=\"attachment_11718219\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11718219\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/01/RS34659_012-qut-800x683.jpg\" alt=\"\" width=\"800\" height=\"683\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34659_012-qut-800x683.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34659_012-qut-160x137.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34659_012-qut-1020x870.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34659_012-qut-1200x1024.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34659_012-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Sanchez family opened their own jazz club called Club Sanchez during the heyday of the Fillmore's jazz and bebop scene. \u003ccite>(Courtesy of Robert C. Sanchez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a child, Martha and her siblings would hang out at Club Sanchez. She remembers eating too many cherries reserved for cocktail drinks and admiring her stylish tías (aunts) who ran the club. They wore '60s bouffant hairstyles and off-the-shoulder blouses.\u003c/p>\n\u003ch3>New Location, New Casa Sanchez\u003c/h3>\n\u003cp>When the Sanchez family noticed their Latino customer base moving out of the Fillmore, they closed the tortilla factory and jazz club and headed to San Francisco's Mission District.\u003c/p>\n\u003cp>In 1968, they reopened their factory on 24th Street, this time with a Mexican restaurant called Casa Sanchez. The restaurant wasn’t just a place to eat; it became a neighborhood institution.\u003c/p>\n\u003cp>“I remember on Sundays my mom would make breakfast at the restaurant,\" Martha said. \"The whole neighborhood would come. I thought they came to see me, but they came for my mom's bacon and eggs that you could smell up and down the streets.”\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"BBGpFswpDjX"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>While the restaurant side of the business boomed, the tortilla enterprise began struggling in the late ‘80s.\u003c/p>\n\u003cp>\"A loaf of bread went up to two dollars, but the tortillas stayed at 25 cents,” said Liz, Martha’s sister.\u003c/p>\n\u003cp>Wholesale tortilla production, once the backbone to their business, was no longer profitable. Their big restaurant clients were manufacturing their own, and they had to compete with newer tortilla factories in the Mission.\u003c/p>\n\u003cp>So once again, the Sanchez family needed to figure out a new way to keep their doors open.\u003c/p>\n\u003ch3>Salsa as Savior\u003c/h3>\n\u003cp>As it turned out, the answer was salsa. The Sanchez family had already been making their own homemade red salsa in their restaurant, but once plastic became readily available in the 1970s, the opportunity to sell their salsa outside the restaurant opened up.\u003c/p>\n\u003cp>After months looking for the right kind of plastic tub — one that could preserve fresh ingredients the longest — the family began selling their fresh-packaged red salsa. Up until this point, store-bought salsa was limited to the jarred kind.\u003c/p>\n\u003cp>In the 1990s, they landed a big contract with Safeway Inc. and began selling their “mild salsa roja” to other major grocery stores as well.\u003c/p>\n\u003cp>Meanwhile, the leftover tortillas that weren’t commercially selling were being used to make tortilla chips.\u003c/p>\n\u003cp>“I'd use my mom's minivan to go and deliver the product,” said Rob Aranda, a fourth generation Sanchez family member, who remembers delivering tubs of their salsa to local grocery stores around the city as a teenager. “I got pulled over for not having a license. But they would just give me a ticket and not tow the car.”\u003c/p>\n\u003cp>Aranda was so committed to his delivery route that the only day he skipped was the day of his junior prom.\u003c/p>\n\u003cp>“I'd get up every day at 5 in the morning [when I was] 8-, 9-years-old and help my grandmother out,\" Aranda said. \"I naturally learned the business just watching and looking.”\u003c/p>\n\u003cp>His love for the business runs skin deep. He even has his own Jimmy the Cornman tattoo.\u003c/p>\n\u003cp>In 2010, during the recession, the Sanchez family brought back the famous tattoo special. This time they called it the “stimulus social” to appeal to locals hit by hard financial times.\u003c/p>\n\u003cfigure id=\"attachment_11718227\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11718227\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/01/RS34656_IMG_4778-qut-1-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34656_IMG_4778-qut-1-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34656_IMG_4778-qut-1-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34656_IMG_4778-qut-1-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34656_IMG_4778-qut-1-900x1200.jpg 900w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/RS34656_IMG_4778-qut-1.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Casa Sanchez restaurant that attracted national attention for its special: a free meal for anyone with a 'Jimmy the Cornman' tattoo. \u003ccite>(Marisol Medina-Cadena/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The following year, Robert’s grandmother (also named Martha) died — she was the restaurant owner and matriarch of the family who came up with the idea to sell chips and salsa — so, four years later her children closed their restaurant doors.\u003c/p>\n\u003cp>But this was not the end of the Sanchez story. The family moved once again and expanded to two separate locations to focus solely on wholesale fresh salsa and tortilla chips.\u003c/p>\n\u003ch3>Casa Sanchez Today\u003c/h3>\n\u003cp>These days, Rob Aranda runs the factory located in San Francisco's Bayview, and he’s bringing up the next generation to help out.\u003c/p>\n\u003cp>“My son comes in during the summer and loves to put the labels on the containers and be part of everything,” he said.\u003c/p>\n\u003cp>Inside the factory kitchen, there’s the strong aroma of onions and jalapeño peppers. Workers are busy mixing large tubs of the mild red salsa.\u003c/p>\n\u003cp>So far, no one has been able to figure out the secret to the family's red salsa.\u003c/p>\n\u003cp>“There was a website dedicated to deciphering the recipe,\" Martha Sanchez said. \"One person posted that it was a combination of seven different chiles.”\u003c/p>\n\u003cfigure id=\"attachment_11719370\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11719370 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/01/e2055435-rs34684_jimmy-the-cornman-2-qut-800x588.jpg\" alt=\"\" width=\"800\" height=\"588\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/01/e2055435-rs34684_jimmy-the-cornman-2-qut-800x588.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/e2055435-rs34684_jimmy-the-cornman-2-qut-160x118.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/e2055435-rs34684_jimmy-the-cornman-2-qut-1020x749.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/e2055435-rs34684_jimmy-the-cornman-2-qut-1200x881.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/e2055435-rs34684_jimmy-the-cornman-2-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jimmy the Cornman has become an icon of San Francisco's Mission District. \u003ccite>(Marisol Medina-Cadena/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The secret has more to do with the process than the actual ingredients. Aranda notes that one employee spends his mornings massaging more than 12,000 pounds of tomatoes to unlock the fresh taste.\u003c/p>\n\u003cp>The factory itself is tiny, but bustling. Outside the kitchen is the warehouse where boxes of Casa Sanchez tortilla chips crowd the space. The chips get made at their factory in Hayward and ship out to the Bayview location every day.\u003c/p>\n\u003cp>“It's like Grand Central Station at 4 in the morning here,\" Martha said. \"You can't get through.”\u003c/p>\n\u003cfigure id=\"attachment_11721171\" class=\"wp-caption alignright\" style=\"max-width: 598px\">\u003cimg class=\"wp-image-11721171 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/01/Screen-Shot-2019-01-25-at-3.35.25-PM.png\" alt=\"\" width=\"598\" height=\"573\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/01/Screen-Shot-2019-01-25-at-3.35.25-PM.png 598w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/Screen-Shot-2019-01-25-at-3.35.25-PM-160x153.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/01/Screen-Shot-2019-01-25-at-3.35.25-PM-32x32.png 32w\" sizes=\"(max-width: 598px) 100vw, 598px\">\u003cfigcaption class=\"wp-caption-text\">\"Just another day at the office.\" Instagram photo by @casasanchezfoods\u003c/figcaption>\u003c/figure>\n\u003cp>Images of La Virgen de Guadalupe and family photos adorn the walls. There’s one prominent picture featuring young Martha and her family posed in front of their businesses. It looks like the Mexican-American version of \"The Brady Bunch.\"\u003c/p>\n\u003cp>Together the Sanchez family is still coming up with new ways to keep up with the changing times. Recently, they produced a Casa Sanchez IPA beer named “Holy Guacamole” and a smartphone game called “Salsa Shooter.”\u003c/p>\n\u003cp>“We don't really think of ourselves as businesspeople,\" Martha said. \"We're just doing things together.\"\u003c/p>\n\u003cp>While the family has no plans to reopen its Casa Sanchez restaurant, the Jimmy the Cornman sign remains on the former Mission storefront. A pupuseria run by a different family now fills the space, and as part of its lease, the restaurant offers free pupusas to anyone with the Jimmy the Cornman logo.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"Bq8E0chA9cw"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Casa Sanchez delivery truck drivers honor this legendary special too. If you see a Casa Sanchez truck at your nearby grocery store, just flash your ink of Jimmy the Cornman and you’ll get your share of fresh salsa and chips.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11717944/from-tortillas-to-jazz-club-to-chips-and-salsa-the-evolution-of-casa-sanchez","authors":["11528"],"programs":["news_72"],"series":["news_22031","news_22032"],"categories":["news_24114","news_8"],"tags":["news_24312","news_5075","news_22033","news_22210","news_3771","news_23121","news_5270"],"featImg":"news_11718213","label":"news_72"},"news_11693821":{"type":"posts","id":"news_11693821","meta":{"index":"posts_1591205157","site":"news","id":"11693821","score":null,"sort":[1538240418000]},"guestAuthors":[],"slug":"a-california-supreme-alice-coltranes-lost-l-a-albums-resurrected","title":"A California Supreme: Alice Coltrane's 'Lost' L.A. Albums Resurrected","publishDate":1538240418,"format":"audio","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>By the time Alice McLeod met her future husband \u003ca href=\"https://www.johncoltrane.com/\" target=\"_blank\" rel=\"noopener\">John Coltrane\u003c/a> in 1963, the classically trained musician with a background in gospel had already mastered bebop piano. Like John, she was looking to push jazz further.\u003c/p>\n\u003cp>She’d join his group on piano in 1966, replacing \u003ca href=\"http://www.mccoytyner.com/\" target=\"_blank\" rel=\"noopener\">McCoy Tyner\u003c/a>, spurring John’s exploration of explosive free jazz and world music on albums like \u003cem>\u003ca href=\"https://www.allmusic.com/album/expression-mw0000197323\" target=\"_blank\" rel=\"noopener\">Expression\u003c/a>, \u003ca href=\"https://www.allmusic.com/album/cosmic-music-mw0002215455\" target=\"_blank\" rel=\"noopener\">Cosmic Music \u003c/a>\u003c/em>and \u003ca href=\"https://www.allmusic.com/album/stellar-regions-mw0000176627\" target=\"_blank\" rel=\"noopener\">\u003cem>Stellar Regions.\u003c/em>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11693833\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11693833\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-800x602.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-1020x768.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-1200x903.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-1180x888.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-960x723.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-240x181.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-375x282.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-520x391.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo.jpg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alice Coltrane in the recording studio in 1966. \u003ccite>(Courtesy of Chuck Stewart / Alice Coltrane Facebook page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The couple married in 1965, started a family and collaborated musically and spiritually until John’s untimely death, just four years after meeting, in 1967. He was just 40 years old.\u003c/p>\n\u003cp>Alice Coltrane talked about their partnership during a rare 1981 interview on \u003ca href=\"https://www.npr.org/2011/09/23/140743198/alice-coltrane-on-piano-jazz\" target=\"_blank\" rel=\"noopener\">NPR’s \u003cem>Piano Jazz\u003c/em> program\u003c/a>.\u003c/p>\n\u003cp>“He really didn’t have to talk or instruct with the music,\" says Coltrane during the show. \"He really didn’t have to do that. Just being around him, listening to him express his ideas musically, it really was very inspirational.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>John encouraged Alice to take up the harp — an instrument that long fascinated both of them. During a visit to a music store, he ordered one for her. It was delivered to the family’s home just weeks after John’s death. She mastered it well enough to play it on her debut 1968 album, a tribute to her late husband, called \u003ca href=\"https://www.allmusic.com/album/a-monastic-trio-mw0000601109\" target=\"_blank\" rel=\"noopener\">\u003cem>A Monastic Trio\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11694344\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694344 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/10-AC-Monastic-cover-800x721.jpg\" alt=\"\" width=\"800\" height=\"721\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-800x721.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-160x144.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-1020x919.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-960x865.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-240x216.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-375x338.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-520x468.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alice Coltrane and harp on the cover of the artist’s debut album as bandleader, 'A Monastic Trio.' \u003ccite>(Courtesy of AliceColtrane.com )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One can only wonder what dedication that takes to get up to that level that she did so fast while still in mourning,” says jazz critic \u003ca href=\"https://jazztimes.com/features/the-gifts-god-gave-him/\" target=\"_blank\" rel=\"noopener\">Ashley Kahn\u003c/a>, who wrote the liner notes for a new Alice Coltrane retrospective, \u003ca href=\"https://shop.realgonemusic.com/products/alice-coltrane-spiritual-eternal-2cd-set\" target=\"_blank\" rel=\"noopener\">\u003cem>Spiritual Eternal — The Complete Warner Bros. Studio Recordings\u003c/em>\u003c/a>, which collects her three studio albums recorded for Warner Bros. shortly after her move to Southern California from New Jersey.\u003c/p>\n\u003cp>“The only way to explain it is cosmic intervention or really, really deep dedication,” says Kahn, speaking from his home in New York.\u003c/p>\n\u003cp>The harp would become a fixture of Alice Coltrane’s subsequent albums, including the three studio sets recorded for Warner between 1975 and 1978.\u003c/p>\n\u003cp>The harp, the same one purchased for her by John Coltrane, and her piano sit where they have for decades: in the front room of the Coltrane family home on a spacious semi-rural property in Woodland Hills, where the family resettled.\u003c/p>\n\u003cp>“That’s \u003cem>the\u003c/em> harp, and I took the cover off for you. Because we need to see it sometimes,” says daughter \u003ca href=\"http://michellecoltrane.com/\" target=\"_blank\" rel=\"noopener\">Sita Michelle Coltrane\u003c/a>, a jazz vocalist and eldest of four Coltrane children. Sita Michelle lives there now with her family.\u003c/p>\n\u003cfigure id=\"attachment_11694346\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11694346\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-1200x900.jpeg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-1180x885.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-960x720.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-240x180.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-375x281.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-520x390.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR.jpeg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sita Michelle Coltrane poses with her mother’s harp, purchased for her by her father, John Coltrane in 1967, in the Coltrane family home in Woodland Hills, California. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sita Michelle remembers making the move from New Jersey to the new and wondrous world of Southern California in the early 1970s. She’d sometimes join her mom in the Warner Bros. studio in Burbank, playing hand percussion and chanting on several songs inspired by traditional Indian devotional songs, called \u003ca href=\"https://www.loc.gov/audio/?all=true&fa=language:hindi%7Csubject:bhajans,+hindi\" target=\"_blank\" rel=\"noopener\">bhajans\u003c/a>.\u003c/p>\n\u003cp>\"My brothers and me, we know a lot of bhajans because they’re like church hymns to us,\" says Coltrane. \"Even though it was [in] Sanskrit we could sing them. It was part of our life.\"\u003c/p>\n\u003cfigure id=\"attachment_11694348\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694348 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano.jpg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A copy of Alice Coltrane’s 1977 Warner Bros. album ‘Transcendence,’ sits atop Coltrane’s piano, along with other keepsakes, in the Coltrane home in Woodland Hills. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of the music Alice Coltrane recorded for Warner during this period began taking shape at this home in Woodland Hills, inspired by a deepening exploration of Indian music, meditation and Hinduism.\u003c/p>\n\u003cp>“It goes all the way back to Africa. They were chanting mantras back in Africa,” says \u003ca href=\"https://kripalu.org/presenters-programs/presenters/purusha-hickson\" target=\"_blank\" rel=\"noopener\">Purusha Hickson\u003c/a>, a Camarillo-based yoga instructor and musician who performed on Coltrane’s three Warner Bros. albums. He also became one of the first people to join Alice Coltrane’s ashram.\u003c/p>\n\u003cp>“(Coltrane’s) coming up in the church, and then her association with the great John Coltrane. She brought all of that, along with her own deep connection with God,” says Hickson, speaking on the patio of his secluded poolside studio apartment overlooking some Ventura County vineyards.\u003c/p>\n\u003cfigure id=\"attachment_11694349\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694349 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-1020x677.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-1200x797.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-1180x783.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-960x637.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-520x345.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble.jpg 1705w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Purusha Hickson (l) performing the devotional music of Alice Coltrane with members of the Sai Anantam Ashram in 2017. \u003ccite>(Courtesy of Alice Coltrane Facebook page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And even though she had some questionable musicians, speaking of myself,” he laughs, \"it didn’t matter, it was not about that. She said, 'Bring your heart, bring that.' \"\u003c/p>\n\u003cp>Hickson would also join Coltrane on a series of meditative devotional recordings she recorded professionally in the studio, but distributed privately in very small quantities on cassette tape in the '80s and '90s. Selections from this series of four impossible-to-find tapes finally saw wider release last year on the Luaka Bop collection \u003ca href=\"https://luakabop.com/catalog/world-spirituality-classics-1-the-ecstatic-music-of-alice-coltrane-turiyasangitananda/\" target=\"_blank\" rel=\"noopener\">\u003cem>World Spirituality Classics 1: The Ecstatic Music of Alice Coltrane Turiyasangitananda. \u003c/em>\u003c/a>\u003c/p>\n\u003cp>Glimpses of what was to come on these later recordings were already starting to appear in the 1970s at the Warner Bros. studio.\u003c/p>\n\u003cfigure id=\"attachment_11694351\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694351 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-%E2%80%94-AC-and-group-at-Sai-Anantam-Ashram-California.-1-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-1020x678.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-1200x798.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-520x346.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1.jpg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alice Coltrane (center, in orange) in an undated photo with members of her Sai Anantam Ashram in Agoura Hills. \u003ccite>(SRI HARI MOSS / Alice Coltrane Facebook page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The family's new life in Southern California and Coltrane’s blossoming spirituality are reflected on the song ‘\u003cem>Om Supreme’\u003c/em> from the album \u003ca href=\"https://www.allmusic.com/album/eternity-mw0000217533\" target=\"_blank\" rel=\"noopener\">\u003cem>Eternit\u003c/em>\u003c/a> — her first \"L.A.\" record for Warner. On it, Coltrane evokes what she perceived as the spiritual forces that drew her out West to begin life anew.\u003c/p>\n\u003cp>The song includes the mantra-like chanting of a small chorus: \u003cem>“When I told you to come to California / you knew I would meet you in California / When I told you to come to California / you knew I would meet you in California / CALIFORNIA, IN CALIFORNIA!”\u003c/em>\u003c/p>\n\u003cp>\u003cem>Eternity\u003c/em> is largely driven by Coltrane’s surging Wurlitzer organ outfitted with an analog synthesizer that Ashley Kahn says enabled her to bend and stretch the notes much like an in-your-face tenor saxophonist.\u003c/p>\n\u003cp>“[It sounds] very Eastern, the way that a sitar player loves to bend the strings, that modulating tone that she’d hit,” explains Kahn.\u003c/p>\n\u003cfigure id=\"attachment_11694356\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694356 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-800x528.jpeg\" alt=\"\" width=\"800\" height=\"528\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-800x528.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-160x106.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-1020x674.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-1200x793.jpeg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-1180x779.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-960x634.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-240x159.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-375x248.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-520x343.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS.jpeg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Coltrane home in Woodland Hills, occupied by daughter Sita Michelle and family, is adorned with images and keepsakes of Alice and John Coltrane. \u003ccite>(Steven Cuevas/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It would bend a little bit further. That really becomes part of her sonic vocabulary with the Warner (Bros.) period.”\u003c/p>\n\u003cp>Two more studio albums for Warner would follow in quick succession: \u003ca href=\"http://www.bbc.co.uk/music/reviews/f6mq/\" target=\"_blank\" rel=\"noopener\">\u003cem>Radha-Krsna Nama Sankirtana\u003c/em>\u003c/a> in 1976 and \u003ca href=\"https://en.wikipedia.org/wiki/Transcendence_(Alice_Coltrane_album)\">\u003cem>Transcendence\u003c/em>\u003c/a> the following year. They’d be the furthest yet that Coltrane would get from conventional jazz. Instead, the albums are looser and deeply rooted in gospel and Indian music. There are fewer \"professional\" jazz musicians in the mix, and the albums are awash with exotic ensemble percussion and chanting choruses.\u003c/p>\n\u003cp>Purusha Hickson says the recording sessions were joyful. Even Carlos Santana dropped in for one session, happy to play some simple hand percussion after his guitar broke. Hickson says Coltrane was an exacting bandleader, but one who encouraged musicians to take risks and find their own groove.\u003c/p>\n\u003cp>“More like a village musician when there is a celebration, just picking up a drum or clave because you want to participate in the celebration,” says Hickson, clearly still deeply affected by his experiences and decades-long friendship with Coltrane.\u003c/p>\n\u003cp>“Our participation was chanting Sanskrit, traditional mantras that have sound vibration qualities. They are uplifting for the mind and spirit.”\u003c/p>\n\u003cfigure id=\"attachment_11694354\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694354 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-800x499.jpg\" alt=\"\" width=\"800\" height=\"499\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-800x499.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-160x100.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-1020x637.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-1200x749.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-1180x737.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-960x599.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-240x150.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-375x234.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-520x325.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light.jpg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alice Coltrane during the photo shoot for the 2004 album ‘Translinear Light,’ her last “commercial” album in her lifetime. \u003ccite>(Alice Coltrane Facebook page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the end of Coltrane’s Warner Bros. contract, there were new priorities; the founding of a \u003ca href=\"http://thevedanticcenter.org/\" target=\"_blank\" rel=\"noopener\">spiritual retreat and ashram\u003c/a>, pursuit of purely devotional music and the everyday demands of raising four kids on her own. Daughter Sita Michelle says Alice still did the occasional concert, but at select venues only. The long nights in smoky jazz clubs were over.\u003c/p>\n\u003cp>“They were smoking then, the alcohol. This is now a person that’s taken spiritual vows, devoted herself to God,” says Coltrane of her mother. “It really wasn’t a (music) where you shake your hips. It all fit with the lifestyle she’d chosen.”\u003c/p>\n\u003cp>As Alice Coltrane suggested to NPR host and jazz pianist \u003ca href=\"https://www.allmusic.com/artist/marian-mcpartland-mn0000824866\" target=\"_blank\" rel=\"noopener\">Marian McPartland\u003c/a> on \u003cem>Piano Jazz \u003c/em>in 1981, a new musical phase was taking shape, one that would take her even further from jazz and Western music altogether.\u003c/p>\n\u003cp>“I am not currently contracted, and since the Warner Bros. contract finalized, that was in 1978 when I made the last (live) double record album (\u003cem>Transfiguration\u003c/em>) for them.”\u003c/p>\n\u003cp>The music Alice Coltrane would create over the ensuing 25 years was devoted almost entirely to her spiritual life. She’d release just one more commercial jazz album, \u003cem>\u003ca href=\"https://www.allmusic.com/album/translinear-light-mw0000401754\" target=\"_blank\" rel=\"noopener\">Translinear Light\u003c/a>,\u003c/em> in 2004 accompanied by her son, the acclaimed jazz saxophonist and composer Ravi Coltrane. She died three years later at the age of 69.\u003c/p>\n\u003cp>Coltrane's explorations may have alienated some jazz purists over the years. But they’ve won generations of new fans and inspired musicians (including saxophonist Kamasi Washington, Thom Yorke of Radiohead and indie rock veterans Yo La Tengo) far beyond the world of jazz.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>'Alice Coltrane: Spiritual Eternal — The Complete Warner Bros. Studio Recordings' was released Sept. 7 by the Real Gone Music label.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The re-release of the Warner Brothers recordings spotlights a musician transitioning from the secular to the sacred. ","status":"publish","parent":0,"modified":1538273501,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":37,"wordCount":1670},"headData":{"title":"A California Supreme: Alice Coltrane's 'Lost' L.A. Albums Resurrected | KQED","description":"The re-release of the Warner Brothers recordings spotlights a musician transitioning from the secular to the sacred. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"11693821 https://ww2.kqed.org/news/?p=11693821","disqusUrl":"https://ww2.kqed.org/news/2018/09/29/a-california-supreme-alice-coltranes-lost-l-a-albums-resurrected/","disqusTitle":"A California Supreme: Alice Coltrane's 'Lost' L.A. Albums Resurrected","audioUrl":"https://www.kqed.org/.stream/anon/radio/tcrmag/2018/09/AliceColtraneCuevas.mp3","audioTrackLength":483,"path":"/news/11693821/a-california-supreme-alice-coltranes-lost-l-a-albums-resurrected","audioDuration":496000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>By the time Alice McLeod met her future husband \u003ca href=\"https://www.johncoltrane.com/\" target=\"_blank\" rel=\"noopener\">John Coltrane\u003c/a> in 1963, the classically trained musician with a background in gospel had already mastered bebop piano. Like John, she was looking to push jazz further.\u003c/p>\n\u003cp>She’d join his group on piano in 1966, replacing \u003ca href=\"http://www.mccoytyner.com/\" target=\"_blank\" rel=\"noopener\">McCoy Tyner\u003c/a>, spurring John’s exploration of explosive free jazz and world music on albums like \u003cem>\u003ca href=\"https://www.allmusic.com/album/expression-mw0000197323\" target=\"_blank\" rel=\"noopener\">Expression\u003c/a>, \u003ca href=\"https://www.allmusic.com/album/cosmic-music-mw0002215455\" target=\"_blank\" rel=\"noopener\">Cosmic Music \u003c/a>\u003c/em>and \u003ca href=\"https://www.allmusic.com/album/stellar-regions-mw0000176627\" target=\"_blank\" rel=\"noopener\">\u003cem>Stellar Regions.\u003c/em>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11693833\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11693833\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-800x602.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-1020x768.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-1200x903.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-1180x888.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-960x723.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-240x181.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-375x282.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-520x391.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo.jpg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alice Coltrane in the recording studio in 1966. \u003ccite>(Courtesy of Chuck Stewart / Alice Coltrane Facebook page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The couple married in 1965, started a family and collaborated musically and spiritually until John’s untimely death, just four years after meeting, in 1967. He was just 40 years old.\u003c/p>\n\u003cp>Alice Coltrane talked about their partnership during a rare 1981 interview on \u003ca href=\"https://www.npr.org/2011/09/23/140743198/alice-coltrane-on-piano-jazz\" target=\"_blank\" rel=\"noopener\">NPR’s \u003cem>Piano Jazz\u003c/em> program\u003c/a>.\u003c/p>\n\u003cp>“He really didn’t have to talk or instruct with the music,\" says Coltrane during the show. \"He really didn’t have to do that. Just being around him, listening to him express his ideas musically, it really was very inspirational.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>John encouraged Alice to take up the harp — an instrument that long fascinated both of them. During a visit to a music store, he ordered one for her. It was delivered to the family’s home just weeks after John’s death. She mastered it well enough to play it on her debut 1968 album, a tribute to her late husband, called \u003ca href=\"https://www.allmusic.com/album/a-monastic-trio-mw0000601109\" target=\"_blank\" rel=\"noopener\">\u003cem>A Monastic Trio\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11694344\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694344 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/10-AC-Monastic-cover-800x721.jpg\" alt=\"\" width=\"800\" height=\"721\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-800x721.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-160x144.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-1020x919.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-960x865.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-240x216.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-375x338.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-520x468.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alice Coltrane and harp on the cover of the artist’s debut album as bandleader, 'A Monastic Trio.' \u003ccite>(Courtesy of AliceColtrane.com )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One can only wonder what dedication that takes to get up to that level that she did so fast while still in mourning,” says jazz critic \u003ca href=\"https://jazztimes.com/features/the-gifts-god-gave-him/\" target=\"_blank\" rel=\"noopener\">Ashley Kahn\u003c/a>, who wrote the liner notes for a new Alice Coltrane retrospective, \u003ca href=\"https://shop.realgonemusic.com/products/alice-coltrane-spiritual-eternal-2cd-set\" target=\"_blank\" rel=\"noopener\">\u003cem>Spiritual Eternal — The Complete Warner Bros. Studio Recordings\u003c/em>\u003c/a>, which collects her three studio albums recorded for Warner Bros. shortly after her move to Southern California from New Jersey.\u003c/p>\n\u003cp>“The only way to explain it is cosmic intervention or really, really deep dedication,” says Kahn, speaking from his home in New York.\u003c/p>\n\u003cp>The harp would become a fixture of Alice Coltrane’s subsequent albums, including the three studio sets recorded for Warner between 1975 and 1978.\u003c/p>\n\u003cp>The harp, the same one purchased for her by John Coltrane, and her piano sit where they have for decades: in the front room of the Coltrane family home on a spacious semi-rural property in Woodland Hills, where the family resettled.\u003c/p>\n\u003cp>“That’s \u003cem>the\u003c/em> harp, and I took the cover off for you. Because we need to see it sometimes,” says daughter \u003ca href=\"http://michellecoltrane.com/\" target=\"_blank\" rel=\"noopener\">Sita Michelle Coltrane\u003c/a>, a jazz vocalist and eldest of four Coltrane children. Sita Michelle lives there now with her family.\u003c/p>\n\u003cfigure id=\"attachment_11694346\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11694346\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-1200x900.jpeg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-1180x885.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-960x720.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-240x180.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-375x281.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-520x390.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR.jpeg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sita Michelle Coltrane poses with her mother’s harp, purchased for her by her father, John Coltrane in 1967, in the Coltrane family home in Woodland Hills, California. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sita Michelle remembers making the move from New Jersey to the new and wondrous world of Southern California in the early 1970s. She’d sometimes join her mom in the Warner Bros. studio in Burbank, playing hand percussion and chanting on several songs inspired by traditional Indian devotional songs, called \u003ca href=\"https://www.loc.gov/audio/?all=true&fa=language:hindi%7Csubject:bhajans,+hindi\" target=\"_blank\" rel=\"noopener\">bhajans\u003c/a>.\u003c/p>\n\u003cp>\"My brothers and me, we know a lot of bhajans because they’re like church hymns to us,\" says Coltrane. \"Even though it was [in] Sanskrit we could sing them. It was part of our life.\"\u003c/p>\n\u003cfigure id=\"attachment_11694348\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694348 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano.jpg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A copy of Alice Coltrane’s 1977 Warner Bros. album ‘Transcendence,’ sits atop Coltrane’s piano, along with other keepsakes, in the Coltrane home in Woodland Hills. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of the music Alice Coltrane recorded for Warner during this period began taking shape at this home in Woodland Hills, inspired by a deepening exploration of Indian music, meditation and Hinduism.\u003c/p>\n\u003cp>“It goes all the way back to Africa. They were chanting mantras back in Africa,” says \u003ca href=\"https://kripalu.org/presenters-programs/presenters/purusha-hickson\" target=\"_blank\" rel=\"noopener\">Purusha Hickson\u003c/a>, a Camarillo-based yoga instructor and musician who performed on Coltrane’s three Warner Bros. albums. He also became one of the first people to join Alice Coltrane’s ashram.\u003c/p>\n\u003cp>“(Coltrane’s) coming up in the church, and then her association with the great John Coltrane. She brought all of that, along with her own deep connection with God,” says Hickson, speaking on the patio of his secluded poolside studio apartment overlooking some Ventura County vineyards.\u003c/p>\n\u003cfigure id=\"attachment_11694349\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694349 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-1020x677.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-1200x797.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-1180x783.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-960x637.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-520x345.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble.jpg 1705w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Purusha Hickson (l) performing the devotional music of Alice Coltrane with members of the Sai Anantam Ashram in 2017. \u003ccite>(Courtesy of Alice Coltrane Facebook page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And even though she had some questionable musicians, speaking of myself,” he laughs, \"it didn’t matter, it was not about that. She said, 'Bring your heart, bring that.' \"\u003c/p>\n\u003cp>Hickson would also join Coltrane on a series of meditative devotional recordings she recorded professionally in the studio, but distributed privately in very small quantities on cassette tape in the '80s and '90s. Selections from this series of four impossible-to-find tapes finally saw wider release last year on the Luaka Bop collection \u003ca href=\"https://luakabop.com/catalog/world-spirituality-classics-1-the-ecstatic-music-of-alice-coltrane-turiyasangitananda/\" target=\"_blank\" rel=\"noopener\">\u003cem>World Spirituality Classics 1: The Ecstatic Music of Alice Coltrane Turiyasangitananda. \u003c/em>\u003c/a>\u003c/p>\n\u003cp>Glimpses of what was to come on these later recordings were already starting to appear in the 1970s at the Warner Bros. studio.\u003c/p>\n\u003cfigure id=\"attachment_11694351\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694351 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-%E2%80%94-AC-and-group-at-Sai-Anantam-Ashram-California.-1-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-1020x678.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-1200x798.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-520x346.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1.jpg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alice Coltrane (center, in orange) in an undated photo with members of her Sai Anantam Ashram in Agoura Hills. \u003ccite>(SRI HARI MOSS / Alice Coltrane Facebook page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The family's new life in Southern California and Coltrane’s blossoming spirituality are reflected on the song ‘\u003cem>Om Supreme’\u003c/em> from the album \u003ca href=\"https://www.allmusic.com/album/eternity-mw0000217533\" target=\"_blank\" rel=\"noopener\">\u003cem>Eternit\u003c/em>\u003c/a> — her first \"L.A.\" record for Warner. On it, Coltrane evokes what she perceived as the spiritual forces that drew her out West to begin life anew.\u003c/p>\n\u003cp>The song includes the mantra-like chanting of a small chorus: \u003cem>“When I told you to come to California / you knew I would meet you in California / When I told you to come to California / you knew I would meet you in California / CALIFORNIA, IN CALIFORNIA!”\u003c/em>\u003c/p>\n\u003cp>\u003cem>Eternity\u003c/em> is largely driven by Coltrane’s surging Wurlitzer organ outfitted with an analog synthesizer that Ashley Kahn says enabled her to bend and stretch the notes much like an in-your-face tenor saxophonist.\u003c/p>\n\u003cp>“[It sounds] very Eastern, the way that a sitar player loves to bend the strings, that modulating tone that she’d hit,” explains Kahn.\u003c/p>\n\u003cfigure id=\"attachment_11694356\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694356 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-800x528.jpeg\" alt=\"\" width=\"800\" height=\"528\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-800x528.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-160x106.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-1020x674.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-1200x793.jpeg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-1180x779.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-960x634.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-240x159.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-375x248.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-520x343.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS.jpeg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Coltrane home in Woodland Hills, occupied by daughter Sita Michelle and family, is adorned with images and keepsakes of Alice and John Coltrane. \u003ccite>(Steven Cuevas/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It would bend a little bit further. That really becomes part of her sonic vocabulary with the Warner (Bros.) period.”\u003c/p>\n\u003cp>Two more studio albums for Warner would follow in quick succession: \u003ca href=\"http://www.bbc.co.uk/music/reviews/f6mq/\" target=\"_blank\" rel=\"noopener\">\u003cem>Radha-Krsna Nama Sankirtana\u003c/em>\u003c/a> in 1976 and \u003ca href=\"https://en.wikipedia.org/wiki/Transcendence_(Alice_Coltrane_album)\">\u003cem>Transcendence\u003c/em>\u003c/a> the following year. They’d be the furthest yet that Coltrane would get from conventional jazz. Instead, the albums are looser and deeply rooted in gospel and Indian music. There are fewer \"professional\" jazz musicians in the mix, and the albums are awash with exotic ensemble percussion and chanting choruses.\u003c/p>\n\u003cp>Purusha Hickson says the recording sessions were joyful. Even Carlos Santana dropped in for one session, happy to play some simple hand percussion after his guitar broke. Hickson says Coltrane was an exacting bandleader, but one who encouraged musicians to take risks and find their own groove.\u003c/p>\n\u003cp>“More like a village musician when there is a celebration, just picking up a drum or clave because you want to participate in the celebration,” says Hickson, clearly still deeply affected by his experiences and decades-long friendship with Coltrane.\u003c/p>\n\u003cp>“Our participation was chanting Sanskrit, traditional mantras that have sound vibration qualities. They are uplifting for the mind and spirit.”\u003c/p>\n\u003cfigure id=\"attachment_11694354\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694354 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-800x499.jpg\" alt=\"\" width=\"800\" height=\"499\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-800x499.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-160x100.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-1020x637.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-1200x749.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-1180x737.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-960x599.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-240x150.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-375x234.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-520x325.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light.jpg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alice Coltrane during the photo shoot for the 2004 album ‘Translinear Light,’ her last “commercial” album in her lifetime. \u003ccite>(Alice Coltrane Facebook page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the end of Coltrane’s Warner Bros. contract, there were new priorities; the founding of a \u003ca href=\"http://thevedanticcenter.org/\" target=\"_blank\" rel=\"noopener\">spiritual retreat and ashram\u003c/a>, pursuit of purely devotional music and the everyday demands of raising four kids on her own. Daughter Sita Michelle says Alice still did the occasional concert, but at select venues only. The long nights in smoky jazz clubs were over.\u003c/p>\n\u003cp>“They were smoking then, the alcohol. This is now a person that’s taken spiritual vows, devoted herself to God,” says Coltrane of her mother. “It really wasn’t a (music) where you shake your hips. It all fit with the lifestyle she’d chosen.”\u003c/p>\n\u003cp>As Alice Coltrane suggested to NPR host and jazz pianist \u003ca href=\"https://www.allmusic.com/artist/marian-mcpartland-mn0000824866\" target=\"_blank\" rel=\"noopener\">Marian McPartland\u003c/a> on \u003cem>Piano Jazz \u003c/em>in 1981, a new musical phase was taking shape, one that would take her even further from jazz and Western music altogether.\u003c/p>\n\u003cp>“I am not currently contracted, and since the Warner Bros. contract finalized, that was in 1978 when I made the last (live) double record album (\u003cem>Transfiguration\u003c/em>) for them.”\u003c/p>\n\u003cp>The music Alice Coltrane would create over the ensuing 25 years was devoted almost entirely to her spiritual life. She’d release just one more commercial jazz album, \u003cem>\u003ca href=\"https://www.allmusic.com/album/translinear-light-mw0000401754\" target=\"_blank\" rel=\"noopener\">Translinear Light\u003c/a>,\u003c/em> in 2004 accompanied by her son, the acclaimed jazz saxophonist and composer Ravi Coltrane. She died three years later at the age of 69.\u003c/p>\n\u003cp>Coltrane's explorations may have alienated some jazz purists over the years. But they’ve won generations of new fans and inspired musicians (including saxophonist Kamasi Washington, Thom Yorke of Radiohead and indie rock veterans Yo La Tengo) far beyond the world of jazz.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>'Alice Coltrane: Spiritual Eternal — The Complete Warner Bros. Studio Recordings' was released Sept. 7 by the Real Gone Music label.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11693821/a-california-supreme-alice-coltranes-lost-l-a-albums-resurrected","authors":["2600"],"programs":["news_72"],"categories":["news_223","news_8"],"tags":["news_3771","news_1425"],"featImg":"news_11693827","label":"news_72"},"news_11616723":{"type":"posts","id":"news_11616723","meta":{"index":"posts_1591205157","site":"news","id":"11616723","score":null,"sort":[1505524570000]},"guestAuthors":[],"slug":"monterey-jazz-festival-celebrates-60-years","title":"Monterey Jazz Festival Celebrates 60 Years","publishDate":1505524570,"format":"audio","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>Less than two weeks after the attacks of 9/11, a deeply unsettled audience gathered for the Monterey Jazz Festival, then in its 44th year. There were last-minute program changes, because some New York musicians couldn’t make it on time to rehearse a new commission.\u003c/p>\n\u003cp>With planes taking off from the nearby regional airport repeatedly buzzing the Monterey County Fairgrounds, a current of fear and uncertainty was palpable in the main arena. \u003c/p>\n\u003cp>Artistic director Tim Jackson knew he couldn’t do much to assuage the anxiety, but he recalled that the first festival in 1958 had opened with Dizzy Gillespie playing an unaccompanied rendition of “The Star-Spangled Banner.” Somehow his staff located the recording. As the clarion trumpet rang out over the arena, Gillespie’s horn seemed to envelop the crowd in a comforting embrace, connecting the listeners with each other and with an earlier era, one marked by very different troubles.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LsFD5Mfl1i0\u003c/p>\n\u003cp>Though rarely in such a dramatic fashion, the \u003ca href=\"http://www.montereyjazzfestival.org\">Monterey Jazz Festival\u003c/a> has always had a knack for drawing on its own history, whether making a point of presenting artists who had first played the fairgrounds as high school students, or celebrating milestone anniversaries of momentous performances. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When the nation’s longest consecutively-running jazz festival returns to the fairgrounds for the 60\u003csup>th\u003c/sup> season this weekend, Sept. 15-17, its storied past will be very much part of the present.\u003c/p>\n\u003cp>One of the more anticipated sets will feature pianist and \u003ca href=\"https://www.arts.gov/honors/jazz\">NEA Jazz Master\u003c/a> \u003ca href=\"http://kennybarron.com\" target=\"_blank\" rel=\"noopener noreferrer\">Kenny Barron\u003c/a> leading a centennial tribute to Gillespie on Friday in the main area. Barron made his Monterey debut with the trumpet legend at the age of 20 in 1963, and has returned frequently since then. His trio is joined by several special guests, including trumpeters Sean Jones and Roy Hargrove and Cuban \u003cem>conguero\u003c/em> Pedrito Martinez (highlighting Gillespie’s pioneering role in the creation of Latin jazz, via his seminal recordings with Chano Pozo).\u003c/p>\n\u003cfigure id=\"attachment_11616731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616731\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-800x1106.jpg\" alt=\"\" width=\"800\" height=\"1106\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-800x1106.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-160x221.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-240x332.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-375x518.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-520x719.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff.jpg 926w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saxophonists Jimmy Heath, Joe Lovano, Branford Marsalis, and Joshua Redman come together to celebrate Sonny Rollins at the Monterey Jazz Festival. Photo by Ken Rabiroff.\u003c/figcaption>\u003c/figure>\n\u003cp>Saturday night’s main arena program kicks off with a tribute to retired tenor sax titan \u003ca href=\"http://sonnyrollins.com\">Sonny Rollins\u003c/a>, one of the few surviving artists who played the inaugural festival. (None of the other 1958 veterans, including saxophonist George Coleman, arranger Bill Holman and vocalist Betty Bennett are performing either.) \u003c/p>\n\u003cp>Featuring an all-star trio led by \u003ca href=\"http://geraldclayton.com\" target=\"_blank\" rel=\"noopener noreferrer\">pianist Gerald Clayton\u003c/a>, the ensemble brings together a formidable array of saxophone masters, including \u003ca href=\"https://en.wikipedia.org/wiki/Jimmy_Heath\" target=\"_blank\" rel=\"noopener noreferrer\">90-year-old Jimmy Heath\u003c/a>, Joe Lovano, Branford Marsalis and Joshua Redman, who made his MJF debut with the award-winning Berkeley High Jazz Band in the mid-1980s.\u003c/p>\n\u003cp>Violinist and MacArthur “Genius” Fellow \u003ca href=\"http://reginacarter.com\" target=\"_blank\" rel=\"noopener noreferrer\">Regina Carter\u003c/a> performs a different program every night as the festival’s Showcase Artist, opening in the Main Arena Friday with a centennial tribute to Ella Fitzgerald based on her latest album “Ella: Accentuate the Positive” (OKeh). On Saturday, she plays a set with her quartet in the Night Club, and Sunday hits Dizzy’s Den with her project Southern Comfort, a musical investigation into her family’s roots in the South.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fAVEuYk5qiw\u003c/p>\n\u003cp>The festival continues its long history of showcasing Southern California-based big bands with the \u003ca href=\"https://en.wikipedia.org/wiki/Clayton-Hamilton_Jazz_Orchestra\" target=\"_blank\" rel=\"noopener noreferrer\">Clayton-Hamilton Jazz Orchestra\u003c/a>, which premieres bassist John Clayton’s festival commission, “Stories of a Groove: Conception, Evolution, Celebration,” with the Gerald Clayton Trio as special guests. And pianist John Beasley’s MONK’estra celebrates the centennial of pianist/composer Thelonious Monk, whose 1963 and ‘64 performances at Monterey were documented on excellent albums.\u003c/p>\n\u003cp>Monterey wasn’t the first jazz festival. That distinction belongs to the Newport Jazz Festival, launched by George Wein in 1954 with support from the Newport society couple Elaine and Louis Lorillard.\u003c/p>\n\u003cp>Monterey DJ Jimmy Lyons and San Francisco Chronicle music critic Ralph J. Gleason started laying the groundwork for a similar festival a few years later, convincing Monterey city leaders to support the plan after producing a successful series of concerts by popular artists like Erroll Garner and Dave Brubeck.\u003c/p>\n\u003cp>With Modern Jazz Quartet pianist/composer John Lewis serving as advisor, the festival's first decade offered an extraordinary array of jazz talent, ranging from foundational figures like Louis Armstrong, Billie Holiday, Earl “Fatha” Hine, Benny Carter and Coleman Hawkins; to modern jazz patriarchs Dizzy Gillespie, Milt Jackson, and Max Roach; and avant garde pioneers like Ornette Coleman, John Coltrane and Eric Dolphy.\u003c/p>\n\u003cp>In the mid-1960s, as jazz and folk music were swamped by the rock tsunami unleashed by the Beatles, Monterey bucked the market trend by turning several veteran players into bona fide stars. Oakland-reared \u003ca href=\"http://www.johnhandy.com\" target=\"_blank\" rel=\"noopener noreferrer\">saxophonist John Handy\u003c/a> brought a singular quintet (it included violinist Michael White and electric guitarist Jerry Hahn) to the Main Arena in 1965, which you can now hear in the classic album “Recorded Live at the Monterey Jazz Festival,” the first of a series of albums for Columbia.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Vm61HiaBFac\u003c/p>\n\u003cp>A year later, in 1966, saxophonist Charles Lloyd recorded the hit album “Forest Flower” (Atlantic) with his quartet, featuring Keith Jarrett, Cecil McBee and Jack DeJohnette, and they became part of Bill Graham’s regular rotation of acts at the Fillmore throughout 1967. Through Gleason’s guidance, the festival anticipated the San Francisco rock explosion, booking Jefferson Airplane and the Paul Butterfield Blues Band in 1966, which paved the way for the \u003ca href=\"https://en.wikipedia.org/wiki/Monterey_Pop_Festival\" target=\"_blank\" rel=\"noopener noreferrer\">Monterey Pop Festival\u003c/a> the following June.\u003c/p>\n\u003cp>The festival doesn’t pack the same kind of punch these days. Nothing does. But it often plays a significant role by introducing artists to the California scene, like Italian-born jazz vocalist Roberta Gambarini, who made a powerful first impression at the festival in 2001, as a special guest with trumpeter Roy Hargrove.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There are too many highlights on this weekend’s program to mention them all, but here are my top five choices among the most-anticipated artists: drummer/composer \u003ca href=\"http://www.montereyjazzfestival.org/artists/matt-wilsons-honey-and-salt\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Wilson’s Honey and Salt \u003c/a>(playing music inspired by the poetry of Carl Sandburg), pianist and NEA Jazz Master \u003ca href=\"https://en.wikipedia.org/wiki/Joanne_Brackeen\" target=\"_blank\" rel=\"noopener noreferrer\">Joanne Brackeen's trio\u003c/a>, the Colombian combo \u003ca href=\"http://www.mperine.com\">Monsieur Periné\u003c/a>, pianist/composer \u003ca href=\"http://vijay-iyer.com/projects/vijay-iyer-sextet/\" target=\"_blank\" rel=\"noopener noreferrer\">Vijay Iyer’s sextet\u003c/a>, and bassist/composer \u003ca href=\"http://lindamayhanoh.com\" target=\"_blank\" rel=\"noopener noreferrer\">Linda May Han Oh’s quintet\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"More than 500 artists will be playing this weekend at the historic fairgrounds. Here's a mini-history of the festival's sounds, scope and significance -- from 1958 through today. ","status":"publish","parent":0,"modified":1505524570,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1086},"headData":{"title":"Monterey Jazz Festival Celebrates 60 Years | KQED","description":"More than 500 artists will be playing this weekend at the historic fairgrounds. Here's a mini-history of the festival's sounds, scope and significance -- from 1958 through today. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"11616723 https://ww2.kqed.org/news/?p=11616723","disqusUrl":"https://ww2.kqed.org/news/2017/09/15/monterey-jazz-festival-celebrates-60-years/","disqusTitle":"Monterey Jazz Festival Celebrates 60 Years","audioUrl":"https://www.kqed.org/.stream/anon/radio/tcrmag/2017/09/TCRPM20170915seg3MontereyJazz60.mp3","path":"/news/11616723/monterey-jazz-festival-celebrates-60-years","audioDuration":null,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Less than two weeks after the attacks of 9/11, a deeply unsettled audience gathered for the Monterey Jazz Festival, then in its 44th year. There were last-minute program changes, because some New York musicians couldn’t make it on time to rehearse a new commission.\u003c/p>\n\u003cp>With planes taking off from the nearby regional airport repeatedly buzzing the Monterey County Fairgrounds, a current of fear and uncertainty was palpable in the main arena. \u003c/p>\n\u003cp>Artistic director Tim Jackson knew he couldn’t do much to assuage the anxiety, but he recalled that the first festival in 1958 had opened with Dizzy Gillespie playing an unaccompanied rendition of “The Star-Spangled Banner.” Somehow his staff located the recording. As the clarion trumpet rang out over the arena, Gillespie’s horn seemed to envelop the crowd in a comforting embrace, connecting the listeners with each other and with an earlier era, one marked by very different troubles.\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/LsFD5Mfl1i0'\n title='//www.youtube.com/embed/LsFD5Mfl1i0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though rarely in such a dramatic fashion, the \u003ca href=\"http://www.montereyjazzfestival.org\">Monterey Jazz Festival\u003c/a> has always had a knack for drawing on its own history, whether making a point of presenting artists who had first played the fairgrounds as high school students, or celebrating milestone anniversaries of momentous performances. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When the nation’s longest consecutively-running jazz festival returns to the fairgrounds for the 60\u003csup>th\u003c/sup> season this weekend, Sept. 15-17, its storied past will be very much part of the present.\u003c/p>\n\u003cp>One of the more anticipated sets will feature pianist and \u003ca href=\"https://www.arts.gov/honors/jazz\">NEA Jazz Master\u003c/a> \u003ca href=\"http://kennybarron.com\" target=\"_blank\" rel=\"noopener noreferrer\">Kenny Barron\u003c/a> leading a centennial tribute to Gillespie on Friday in the main area. Barron made his Monterey debut with the trumpet legend at the age of 20 in 1963, and has returned frequently since then. His trio is joined by several special guests, including trumpeters Sean Jones and Roy Hargrove and Cuban \u003cem>conguero\u003c/em> Pedrito Martinez (highlighting Gillespie’s pioneering role in the creation of Latin jazz, via his seminal recordings with Chano Pozo).\u003c/p>\n\u003cfigure id=\"attachment_11616731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616731\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-800x1106.jpg\" alt=\"\" width=\"800\" height=\"1106\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-800x1106.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-160x221.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-240x332.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-375x518.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-520x719.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff.jpg 926w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saxophonists Jimmy Heath, Joe Lovano, Branford Marsalis, and Joshua Redman come together to celebrate Sonny Rollins at the Monterey Jazz Festival. Photo by Ken Rabiroff.\u003c/figcaption>\u003c/figure>\n\u003cp>Saturday night’s main arena program kicks off with a tribute to retired tenor sax titan \u003ca href=\"http://sonnyrollins.com\">Sonny Rollins\u003c/a>, one of the few surviving artists who played the inaugural festival. (None of the other 1958 veterans, including saxophonist George Coleman, arranger Bill Holman and vocalist Betty Bennett are performing either.) \u003c/p>\n\u003cp>Featuring an all-star trio led by \u003ca href=\"http://geraldclayton.com\" target=\"_blank\" rel=\"noopener noreferrer\">pianist Gerald Clayton\u003c/a>, the ensemble brings together a formidable array of saxophone masters, including \u003ca href=\"https://en.wikipedia.org/wiki/Jimmy_Heath\" target=\"_blank\" rel=\"noopener noreferrer\">90-year-old Jimmy Heath\u003c/a>, Joe Lovano, Branford Marsalis and Joshua Redman, who made his MJF debut with the award-winning Berkeley High Jazz Band in the mid-1980s.\u003c/p>\n\u003cp>Violinist and MacArthur “Genius” Fellow \u003ca href=\"http://reginacarter.com\" target=\"_blank\" rel=\"noopener noreferrer\">Regina Carter\u003c/a> performs a different program every night as the festival’s Showcase Artist, opening in the Main Arena Friday with a centennial tribute to Ella Fitzgerald based on her latest album “Ella: Accentuate the Positive” (OKeh). On Saturday, she plays a set with her quartet in the Night Club, and Sunday hits Dizzy’s Den with her project Southern Comfort, a musical investigation into her family’s roots in the South.\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/fAVEuYk5qiw'\n title='//www.youtube.com/embed/fAVEuYk5qiw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The festival continues its long history of showcasing Southern California-based big bands with the \u003ca href=\"https://en.wikipedia.org/wiki/Clayton-Hamilton_Jazz_Orchestra\" target=\"_blank\" rel=\"noopener noreferrer\">Clayton-Hamilton Jazz Orchestra\u003c/a>, which premieres bassist John Clayton’s festival commission, “Stories of a Groove: Conception, Evolution, Celebration,” with the Gerald Clayton Trio as special guests. And pianist John Beasley’s MONK’estra celebrates the centennial of pianist/composer Thelonious Monk, whose 1963 and ‘64 performances at Monterey were documented on excellent albums.\u003c/p>\n\u003cp>Monterey wasn’t the first jazz festival. That distinction belongs to the Newport Jazz Festival, launched by George Wein in 1954 with support from the Newport society couple Elaine and Louis Lorillard.\u003c/p>\n\u003cp>Monterey DJ Jimmy Lyons and San Francisco Chronicle music critic Ralph J. Gleason started laying the groundwork for a similar festival a few years later, convincing Monterey city leaders to support the plan after producing a successful series of concerts by popular artists like Erroll Garner and Dave Brubeck.\u003c/p>\n\u003cp>With Modern Jazz Quartet pianist/composer John Lewis serving as advisor, the festival's first decade offered an extraordinary array of jazz talent, ranging from foundational figures like Louis Armstrong, Billie Holiday, Earl “Fatha” Hine, Benny Carter and Coleman Hawkins; to modern jazz patriarchs Dizzy Gillespie, Milt Jackson, and Max Roach; and avant garde pioneers like Ornette Coleman, John Coltrane and Eric Dolphy.\u003c/p>\n\u003cp>In the mid-1960s, as jazz and folk music were swamped by the rock tsunami unleashed by the Beatles, Monterey bucked the market trend by turning several veteran players into bona fide stars. Oakland-reared \u003ca href=\"http://www.johnhandy.com\" target=\"_blank\" rel=\"noopener noreferrer\">saxophonist John Handy\u003c/a> brought a singular quintet (it included violinist Michael White and electric guitarist Jerry Hahn) to the Main Arena in 1965, which you can now hear in the classic album “Recorded Live at the Monterey Jazz Festival,” the first of a series of albums for Columbia.\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/Vm61HiaBFac'\n title='//www.youtube.com/embed/Vm61HiaBFac'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A year later, in 1966, saxophonist Charles Lloyd recorded the hit album “Forest Flower” (Atlantic) with his quartet, featuring Keith Jarrett, Cecil McBee and Jack DeJohnette, and they became part of Bill Graham’s regular rotation of acts at the Fillmore throughout 1967. Through Gleason’s guidance, the festival anticipated the San Francisco rock explosion, booking Jefferson Airplane and the Paul Butterfield Blues Band in 1966, which paved the way for the \u003ca href=\"https://en.wikipedia.org/wiki/Monterey_Pop_Festival\" target=\"_blank\" rel=\"noopener noreferrer\">Monterey Pop Festival\u003c/a> the following June.\u003c/p>\n\u003cp>The festival doesn’t pack the same kind of punch these days. Nothing does. But it often plays a significant role by introducing artists to the California scene, like Italian-born jazz vocalist Roberta Gambarini, who made a powerful first impression at the festival in 2001, as a special guest with trumpeter Roy Hargrove.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are too many highlights on this weekend’s program to mention them all, but here are my top five choices among the most-anticipated artists: drummer/composer \u003ca href=\"http://www.montereyjazzfestival.org/artists/matt-wilsons-honey-and-salt\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Wilson’s Honey and Salt \u003c/a>(playing music inspired by the poetry of Carl Sandburg), pianist and NEA Jazz Master \u003ca href=\"https://en.wikipedia.org/wiki/Joanne_Brackeen\" target=\"_blank\" rel=\"noopener noreferrer\">Joanne Brackeen's trio\u003c/a>, the Colombian combo \u003ca href=\"http://www.mperine.com\">Monsieur Periné\u003c/a>, pianist/composer \u003ca href=\"http://vijay-iyer.com/projects/vijay-iyer-sextet/\" target=\"_blank\" rel=\"noopener noreferrer\">Vijay Iyer’s sextet\u003c/a>, and bassist/composer \u003ca href=\"http://lindamayhanoh.com\" target=\"_blank\" rel=\"noopener noreferrer\">Linda May Han Oh’s quintet\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11616723/monterey-jazz-festival-celebrates-60-years","authors":["86"],"programs":["news_72"],"categories":["news_223","news_8"],"tags":["news_3771","news_1425","news_17286"],"featImg":"news_11616730","label":"news_72"},"news_11613883":{"type":"posts","id":"news_11613883","meta":{"index":"posts_1591205157","site":"news","id":"11613883","score":null,"sort":[1504141314000]},"guestAuthors":[],"slug":"family-ties-shape-new-albums-by-douye-and-the-sons-of-the-soul-revivers","title":"Family Ties Shape New Albums by Douyé, and The Sons of the Soul Revivers","publishDate":1504141314,"format":"audio","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>Musical traditions are often passed down from one generation to another, but that transmission can take very different forms. New albums by vocalist Douyé and gospel combo The Sons of the Soul Revivers represent exemplary work by artists honoring their families, while walking very different paths.\u003c/p>\n\u003ch3>Douyé\u003c/h3>\n\u003cp>Born in Nigeria,\u003ca href=\"http://douyemusic.com\"> Douyé\u003c/a> (pronounced doe-yay) was well on her way to establishing herself as a Sade-inspired R&B vocalist when she felt the pull of a deathbed request made by her father. While she was growing up in Lagos he filled their house with the sounds of legendary jazz singers Ella Fitzgerald, Billie Holiday, Sarah Vaughan and Dinah Washington. He died when she was only 11, and at the end he beseeched her to follow her love of music into jazz.\u003c/p>\n\u003cp>\u003cimg class=\"wp-image-11614412 alignleft\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-800x728.jpg\" alt=\"\" width=\"300\" height=\"273\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-800x728.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-160x146.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-1020x928.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-1180x1074.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-960x874.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-240x218.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-375x341.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-520x473.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy.jpg 1500w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>Her pursuit of a musical education took her to London and then Los Angeles, where she studied at the Musicians Institute and released two sultry albums of slow-burning R&B: 2008’s “Journey” and 2014’s “So Much Love.” But in between those projects she felt the call of her father’s wish and started getting acquainted with the L.A. jazz scene, sitting in at jam sessions at \u003ca href=\"http://www.theworldstage.org\">the World Stage\u003c/a> in Leimert Park.\u003c/p>\n\u003cp>With “Daddy Said So” (Groove Note Records), she more than fulfills her commitment to her father. Teaming up with some of jazz’s greatest musicians, Douyé effectively applies her compressed range and smoky tone to a program of lush ballads. Her cool delivery often brings to mind the understated approach of Chet Baker and Julie London on their definitive 1950s recordings, and she’s well served by her strong cast of arrangers, who create a shifting array of settings for her appealing sound.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rrovR1hn838\u003c/p>\n\u003cp>Douyé mines the L.A. scene on “Round Midnight” and “In A Sentimental Mood,” which feature pianist John Beasley’s savvy arrangements and first-call players like saxophonist Bob Sheppard, bassist John Clayton and drummer Roy McCurdy. But she also taps New York talent on “Mood Indigo” and “I Loves You Porgy,” featuring piano great Kenny Barron’s trio. “But Beautiful,” taken at a Shirley Horn time-stopping tempo, and re-harmonized “All the Things You Are,” feature impressive work by Nigerian tenor-saxophonist Zem Audu (and Nigerian-American bassist Essiet Essiet).\u003c/p>\n\u003cp>The album’s only real drawback is the lack of surprises when it comes to repertoire. Douyé brings her less-is-more sensibility to dramatic standards like “Lush Life,” “Autumn Leaves” “I Loves You Porgy,” but doesn’t change the way we hear these familiar tunes (a tall order, given how often they’ve been interpreted by jazz’s greatest artists). She’s definitely fulfilled her promise to her father. It will be interesting to see what she does next, for herself.\u003c/p>\n\u003ch3>The Sons of the Soul Revivers\u003c/h3>\n\u003cp>\u003ca href=\"http://littlevillagefoundation.com/the-sons-of-the-soul-revivers/\">The Sons of the Soul Revivers\u003c/a> are also following in their parents’ footsteps, but their journey started as kids back in the early 1970s (building on the foundation of their family’s well-regarded gospel group the Soul Revivers).\u003c/p>\n\u003cp>\u003cimg class=\"wp-image-11614414 alignleft\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/SOTSR-HR-Cover2-800x799.jpg\" alt=\"\" width=\"301\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-800x799.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-1020x1019.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-1180x1179.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-960x959.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2.jpg 1483w\" sizes=\"(max-width: 301px) 100vw, 301px\">\u003c/p>\n\u003cp>A rousing gospel ensemble from Vallejo, the Sons are built around three brothers, James, Dwayne and Walter Morgan Jr., who are steeped in the classic gospel quartet sound that was one of the mightiest currents running through African-American culture in the middle decades of the 20th century.\u003c/p>\n\u003cp>Captured in the heat of the action on “Live! Rancho Nicasio” (Little Village Foundation), the Sons draw directly from the glorious golden-age gospel groups like the Dixie Hummingbirds, the Mighty Clouds of Joy, the Silver Leaf Quartet and the Soul Stirrers, which had huge popular followings and launched the careers of soul pioneers like Sam Cooke (and more recently Raphael Saadiq).\u003c/p>\n\u003cp>On “Rancho Nicasio” the Sons seamlessly mix rollicking arrangements of traditional songs like “Pilgrim and a Stranger” and “Come Over Here” with Dwayne Morgan’s beautifully wrought originals, like the ecstatic “Joy” and roof-raising “Shook.” Imbued with warmth and grit, the brothers’ voices deliver the good news with the authority of masters (augmented by bassist/vocalist DeQuantae Johnson, who lays irresistible grooves with commanding drummer Oliver Calloway).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YG9uSWdEmNM\u003c/p>\n\u003cp>They’ve released several acclaimed albums over the years, and made a big impression on the East Bay music scene in the 1980s while providing an early jolt of inspiration for Raphael Saadiq and Tony! Toni! Toné!\u003c/p>\n\u003cp>[contextly_sidebar id=\"duq25hc30AgO3uuNTsHLJVHphXjARe3P\"]\u003c/p>\n\u003cp>But “Rancho Nicasio” seems ideally suited to introduce the Sons to a new audience. Veteran blues organist Jim Pugh, who contributes to the album, launched the \u003ca href=\"http://littlevillagefoundation.com\">Little Village Foundation\u003c/a> label to document roots music in California, and this album is part of a second batch of releases that include excellent albums by blues guitar great Chris Cain, Americana songsmith Maurice Tani and \u003ca href=\"https://ww2.kqed.org/news/2017/07/18/at-17-this-mariachi-veteran-is-releasing-her-first-poetry-album/\" target=\"_blank\" rel=\"noopener noreferrer\">Xochitl Morales\u003c/a>, a 17-year-old mariachi trumpeter, vocalist and slam poet from Delano.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than maintaining a family tradition, the Morgan brothers ensure that a joyous sound woven into the DNA of American music doesn’t get swamped by subsequent styles. Whatever one’s faith, the Sons of Soul Revivers offer a potent cure for the travails of everyday life.\u003c/p>\n\n","blocks":[],"excerpt":"New albums by L.A. vocalist Douyé and Vallejo gospel combo The Sons of the Soul Revivers represent exemplary work by artists honoring their families, while walking very different paths.","status":"publish","parent":0,"modified":1504141087,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":936},"headData":{"title":"Family Ties Shape New Albums by Douyé, and The Sons of the Soul Revivers | KQED","description":"New albums by L.A. vocalist Douyé and Vallejo gospel combo The Sons of the Soul Revivers represent exemplary work by artists honoring their families, while walking very different paths.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"11613883 https://ww2.kqed.org/news/?p=11613883","disqusUrl":"https://ww2.kqed.org/news/2017/08/30/family-ties-shape-new-albums-by-douye-and-the-sons-of-the-soul-revivers/","disqusTitle":"Family Ties Shape New Albums by Douyé, and The Sons of the Soul Revivers","audioUrl":"http://www.kqed.org/.stream/anon/radio/tcr/2017/08/MusicReview.mp3","path":"/news/11613883/family-ties-shape-new-albums-by-douye-and-the-sons-of-the-soul-revivers","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Musical traditions are often passed down from one generation to another, but that transmission can take very different forms. New albums by vocalist Douyé and gospel combo The Sons of the Soul Revivers represent exemplary work by artists honoring their families, while walking very different paths.\u003c/p>\n\u003ch3>Douyé\u003c/h3>\n\u003cp>Born in Nigeria,\u003ca href=\"http://douyemusic.com\"> Douyé\u003c/a> (pronounced doe-yay) was well on her way to establishing herself as a Sade-inspired R&B vocalist when she felt the pull of a deathbed request made by her father. While she was growing up in Lagos he filled their house with the sounds of legendary jazz singers Ella Fitzgerald, Billie Holiday, Sarah Vaughan and Dinah Washington. He died when she was only 11, and at the end he beseeched her to follow her love of music into jazz.\u003c/p>\n\u003cp>\u003cimg class=\"wp-image-11614412 alignleft\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-800x728.jpg\" alt=\"\" width=\"300\" height=\"273\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-800x728.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-160x146.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-1020x928.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-1180x1074.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-960x874.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-240x218.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-375x341.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-520x473.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy.jpg 1500w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>Her pursuit of a musical education took her to London and then Los Angeles, where she studied at the Musicians Institute and released two sultry albums of slow-burning R&B: 2008’s “Journey” and 2014’s “So Much Love.” But in between those projects she felt the call of her father’s wish and started getting acquainted with the L.A. jazz scene, sitting in at jam sessions at \u003ca href=\"http://www.theworldstage.org\">the World Stage\u003c/a> in Leimert Park.\u003c/p>\n\u003cp>With “Daddy Said So” (Groove Note Records), she more than fulfills her commitment to her father. Teaming up with some of jazz’s greatest musicians, Douyé effectively applies her compressed range and smoky tone to a program of lush ballads. Her cool delivery often brings to mind the understated approach of Chet Baker and Julie London on their definitive 1950s recordings, and she’s well served by her strong cast of arrangers, who create a shifting array of settings for her appealing sound.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rrovR1hn838'\n title='//www.youtube.com/embed/rrovR1hn838'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Douyé mines the L.A. scene on “Round Midnight” and “In A Sentimental Mood,” which feature pianist John Beasley’s savvy arrangements and first-call players like saxophonist Bob Sheppard, bassist John Clayton and drummer Roy McCurdy. But she also taps New York talent on “Mood Indigo” and “I Loves You Porgy,” featuring piano great Kenny Barron’s trio. “But Beautiful,” taken at a Shirley Horn time-stopping tempo, and re-harmonized “All the Things You Are,” feature impressive work by Nigerian tenor-saxophonist Zem Audu (and Nigerian-American bassist Essiet Essiet).\u003c/p>\n\u003cp>The album’s only real drawback is the lack of surprises when it comes to repertoire. Douyé brings her less-is-more sensibility to dramatic standards like “Lush Life,” “Autumn Leaves” “I Loves You Porgy,” but doesn’t change the way we hear these familiar tunes (a tall order, given how often they’ve been interpreted by jazz’s greatest artists). She’s definitely fulfilled her promise to her father. It will be interesting to see what she does next, for herself.\u003c/p>\n\u003ch3>The Sons of the Soul Revivers\u003c/h3>\n\u003cp>\u003ca href=\"http://littlevillagefoundation.com/the-sons-of-the-soul-revivers/\">The Sons of the Soul Revivers\u003c/a> are also following in their parents’ footsteps, but their journey started as kids back in the early 1970s (building on the foundation of their family’s well-regarded gospel group the Soul Revivers).\u003c/p>\n\u003cp>\u003cimg class=\"wp-image-11614414 alignleft\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/SOTSR-HR-Cover2-800x799.jpg\" alt=\"\" width=\"301\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-800x799.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-1020x1019.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-1180x1179.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-960x959.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2.jpg 1483w\" sizes=\"(max-width: 301px) 100vw, 301px\">\u003c/p>\n\u003cp>A rousing gospel ensemble from Vallejo, the Sons are built around three brothers, James, Dwayne and Walter Morgan Jr., who are steeped in the classic gospel quartet sound that was one of the mightiest currents running through African-American culture in the middle decades of the 20th century.\u003c/p>\n\u003cp>Captured in the heat of the action on “Live! Rancho Nicasio” (Little Village Foundation), the Sons draw directly from the glorious golden-age gospel groups like the Dixie Hummingbirds, the Mighty Clouds of Joy, the Silver Leaf Quartet and the Soul Stirrers, which had huge popular followings and launched the careers of soul pioneers like Sam Cooke (and more recently Raphael Saadiq).\u003c/p>\n\u003cp>On “Rancho Nicasio” the Sons seamlessly mix rollicking arrangements of traditional songs like “Pilgrim and a Stranger” and “Come Over Here” with Dwayne Morgan’s beautifully wrought originals, like the ecstatic “Joy” and roof-raising “Shook.” Imbued with warmth and grit, the brothers’ voices deliver the good news with the authority of masters (augmented by bassist/vocalist DeQuantae Johnson, who lays irresistible grooves with commanding drummer Oliver Calloway).\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/YG9uSWdEmNM'\n title='//www.youtube.com/embed/YG9uSWdEmNM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>They’ve released several acclaimed albums over the years, and made a big impression on the East Bay music scene in the 1980s while providing an early jolt of inspiration for Raphael Saadiq and Tony! Toni! Toné!\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But “Rancho Nicasio” seems ideally suited to introduce the Sons to a new audience. Veteran blues organist Jim Pugh, who contributes to the album, launched the \u003ca href=\"http://littlevillagefoundation.com\">Little Village Foundation\u003c/a> label to document roots music in California, and this album is part of a second batch of releases that include excellent albums by blues guitar great Chris Cain, Americana songsmith Maurice Tani and \u003ca href=\"https://ww2.kqed.org/news/2017/07/18/at-17-this-mariachi-veteran-is-releasing-her-first-poetry-album/\" target=\"_blank\" rel=\"noopener noreferrer\">Xochitl Morales\u003c/a>, a 17-year-old mariachi trumpeter, vocalist and slam poet from Delano.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than maintaining a family tradition, the Morgan brothers ensure that a joyous sound woven into the DNA of American music doesn’t get swamped by subsequent styles. Whatever one’s faith, the Sons of Soul Revivers offer a potent cure for the travails of everyday life.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11613883/family-ties-shape-new-albums-by-douye-and-the-sons-of-the-soul-revivers","authors":["86"],"programs":["news_72"],"categories":["news_223"],"tags":["news_3771","news_1425","news_17051","news_17286"],"featImg":"news_11614784","label":"news_72"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? 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Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. 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