The Concert Promoter Who Founded Berkeley’s Legendary Rainbow Sign
Once Booming, Where Are the Blues in San Francisco Now?
The 23rd Healdsburg Jazz Festival Returns With In-Person Performances
Up for a Blues Award, Oakland’s Terrie Odabi Advocates for Black Women in the Genre
Faye Carol Celebrates the Diversity of Black Music with Virtual Concerts
The Dynamic Miss Faye Carol is the East Bay's Hardest-Working Live Musician
San Jose Jazz Summer Fest: In the Pocket at 30
Down-Home Music: American Roots on Tap at SFO's Terminal 2
Tiffany Austin's Soul-Steeped Jazz Celebrates Black Resilience
Sponsored
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He is available for weddings and bar and bat mitzvahs. #jazzscribe","avatar":"https://secure.gravatar.com/avatar/445e6fe4cc696bd39773e3c90f5108b6?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["Contributor","contributor"]},{"site":"news","roles":["author"]}],"headData":{"title":"Andrew Gilbert | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/445e6fe4cc696bd39773e3c90f5108b6?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/445e6fe4cc696bd39773e3c90f5108b6?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/agilbert"},"rachael-myrow":{"type":"authors","id":"251","meta":{"index":"authors_1591205172","id":"251","found":true},"name":"Rachael Myrow","firstName":"Rachael","lastName":"Myrow","slug":"rachael-myrow","email":"rmyrow@kqed.org","display_author_email":false,"staff_mastheads":["news"],"title":"Senior Editor of KQED's Silicon Valley News Desk","bio":"Rachael Myrow is Senior Editor of KQED's Silicon Valley News Desk. You can hear her work on \u003ca href=\"https://www.npr.org/search?query=Rachael%20Myrow&page=1\">NPR\u003c/a>, \u003ca href=\"https://theworld.org/people/rachael-myrow\">The World\u003c/a>, WBUR's \u003ca href=\"https://www.wbur.org/search?q=Rachael%20Myrow\">\u003ci>Here & Now\u003c/i>\u003c/a> and the BBC. \u003c/i>She also guest hosts for KQED's \u003ci>\u003ca href=\"https://www.kqed.org/forum/tag/rachael-myrow\">Forum\u003c/a>\u003c/i>. Over the years, she's talked with Kamau Bell, David Byrne, Kamala Harris, Tony Kushner, Armistead Maupin, Van Dyke Parks, Arnold Schwarzenegger and Tommie Smith, among others.\r\n\r\nBefore all this, she hosted \u003cem>The California Report\u003c/em> for 7+ years, reporting on topics like \u003ca href=\"https://soundcloud.com/rmyrow/on-a-mission-to-reform-assisted-living\">assisted living facilities\u003c/a>, the \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2014/12/01/367703789/amazon-unleashes-robot-army-to-send-your-holiday-packages-faster\">robot takeover\u003c/a> of Amazon, and \u003ca href=\"https://www.kqed.org/bayareabites/50822/in-search-of-the-chocolate-persimmon\" rel=\"noopener noreferrer\">chocolate persimmons\u003c/a>.\r\n\r\nAwards? Sure: Peabody, Edward R. Murrow, Regional Edward R. Murrow, RTNDA, Northern California RTNDA, SPJ Northern California Chapter, LA Press Club, Golden Mic. Prior to joining KQED, Rachael worked in Los Angeles at KPCC and Marketplace. She holds degrees in English and journalism from UC Berkeley (where she got her start in public radio on KALX-FM).\r\n\r\nOutside of the studio, you'll find Rachael hiking Bay Area trails and whipping up Instagram-ready meals in her kitchen.","avatar":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g","twitter":"rachaelmyrow","facebook":null,"instagram":null,"linkedin":"https://www.linkedin.com/in/rachaelmyrow/","sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["edit_others_posts","editor"]},{"site":"futureofyou","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"stateofhealth","roles":["editor"]},{"site":"science","roles":["editor"]},{"site":"food","roles":["editor"]},{"site":"forum","roles":["editor"]}],"headData":{"title":"Rachael Myrow | KQED","description":"Senior Editor of KQED's Silicon Valley News Desk","ogImgSrc":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/rachael-myrow"},"ralexandra":{"type":"authors","id":"11242","meta":{"index":"authors_1591205172","id":"11242","found":true},"name":"Rae Alexandra","firstName":"Rae","lastName":"Alexandra","slug":"ralexandra","email":"ralexandra@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Staff Writer","bio":"Rae Alexandra is Staff Writer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Born and raised in Wales, she started her career in London, as a music journalist for uproarious rock ’n’ roll magazine, \u003cem>\u003ca href=\"https://www.kerrang.com/features/an-oral-history-of-alternative-tentacles-40-years-of-keeping-punk-alive/\">Kerrang!\u003c/a>\u003c/em>. In America, she got her start at alt-weeklies including \u003ca href=\"https://archives.sfweekly.com/sanfrancisco/ArticleArchives?author=2127078&excludeCategoryType=Blog\">\u003cem>SF Weekly\u003c/em>\u003c/a> and the \u003ca href=\"https://www.villagevoice.com/author/raealexandra/\">\u003cem>Village Voice\u003c/em>\u003c/a>, and freelanced for a great many other publications. Her undying love for San Francisco has, more recently, turned her into \u003ca href=\"https://www.kqed.org/arts/tag/bayareahistory/\">a history nerd\u003c/a>. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture.","avatar":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twitter":"raemondjjjj","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"science","roles":["editor"]}],"headData":{"title":"Rae Alexandra | KQED","description":"Staff Writer","ogImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ralexandra"},"nvoynovskaya":{"type":"authors","id":"11387","meta":{"index":"authors_1591205172","id":"11387","found":true},"name":"Nastia Voynovskaya","firstName":"Nastia","lastName":"Voynovskaya","slug":"nvoynovskaya","email":"nvoynovskaya@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Associate Editor","bio":"Nastia Voynovskaya is a Russian-born journalist raised in the Bay Area and Tampa, Florida. 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He is the 2019 Oakland Youth Poet Laureate, a 2020 Finalist for National Youth Poet Laureate, and a 4-time YoungArts Winner. His writing has been published in Teen Vogue, the New York Times, the Washington Post, and more. He will attend Yale University in the fall of 2021.\u003c/span>","avatar":"https://secure.gravatar.com/avatar/ebad3dcf2295975cfe77698fa670a089?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["subscriber"]}],"headData":{"title":"Samuel Getachew | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/ebad3dcf2295975cfe77698fa670a089?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/ebad3dcf2295975cfe77698fa670a089?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/sgetachew"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13926548":{"type":"posts","id":"arts_13926548","meta":{"index":"posts_1591205157","site":"arts","id":"13926548","score":null,"sort":[1680298052000]},"guestAuthors":[],"slug":"mary-ann-pollar-presents-rainbow-sign-berkeley-nina-simone-bob-dylan","title":"The Concert Promoter Who Founded Berkeley’s Legendary Rainbow Sign","publishDate":1680298052,"format":"standard","headTitle":"The Concert Promoter Who Founded Berkeley’s Legendary Rainbow Sign | KQED","labelTerm":{"term":8978,"site":"arts"},"content":"\u003cp>[dropcap]O[/dropcap]ne afternoon in 1972, Nina Simone was getting ready to appear at Rainbow Sign, a Black cultural center that had recently opened in Berkeley. Situated at 2640 Grove St (today’s Martin Luther King Jr. Way), the venue had been set up by local concert promoter Mary Ann Pollar the year prior. After Simone and Pollar had finished eating lunch, they were on the way out of the building when they encountered two young girls in the hall, approximately 10 and 12 years old. They immediately caught Simone’s eye.\u003c/p>\n\u003cp>[aside postid='news_11901099']“Aren’t you supposed to be in school now?” Simone asked.\u003c/p>\n\u003cp>“Oh, I don’t have to go to school,” the older child said. “I’m going to be a singer like you.”\u003c/p>\n\u003cp>Simone immediately went into mentor mode. “Out of the next 100 people who walk in here, perhaps 90 can sing as well as I do,” Simone told the girl. “Do you really want to know how to become a singer?”\u003c/p>\n\u003cp>Simone took both girls aside and talked to them for 45 minutes about the importance of education, commitment and working hard towards their goals. Simone made clear that raw talent alone was not enough to make it in the world. It was a stunning — and probably life-changing — interaction for the girls, who had shown up just hoping to catch a glimpse of their hero. A couple of years later, Mary Ann Pollar relayed the story to local journalist Sandra Greenlow.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“In one way,” she said, “we probably scared those children half to death. In another though, [Simone] gave them a priceless lesson.”\u003c/p>\n\u003cp>https://twitter.com/NinaSimoneMusic/status/1509542736495529991\u003c/p>\n\u003cp>For the six years it was open, Rainbow Sign was a hotspot for the kind of exchanges that Simone and those Berkeley children had that day. It was a venue that entertained audiences with some of the greatest Black artists of the time — Curtis Mayfield, Marvin Gaye, Pharoah Sanders, Oscar Brown Jr. and Simone amongst them. Writers like Maya Angelou, James Baldwin, Alex Haley, Alice Walker and Joyce Carol Thomas gave readings there. Historians like Samella Lewis and Mrs. W. E. B. DuBois gave talks. Legendary dancer Josephine Baker even appeared in the 200-seat hall.\u003c/p>\n\u003cp>[aside postid='arts_13874853']At the time, Mary Ann tried to explain what made her intimate venue so appealing to such major artists. “It’s an energy,” she said. “It floats in the air. In other places people overhear the performers. In this room, they listen. I don’t know what explains it, but here it’s more than just someone standing on a stage.”\u003c/p>\n\u003cp>Rainbow Sign was much more than a music hall too. It hosted weddings, tea parties, art shows and children’s events. It was the venue at which Shirley Chisholm announced her presidential run. It was a restaurant that served up Mary Ann’s spectacular cooking — smothered steak, fried chicken and dessert pies were all raved-about favorites. The banquet hall hosted the League of Women voters, the NAACP and the Urban League. Rainbow Sign was a place where employees recently released from San Quentin could rub shoulders with Berkeley’s first Black mayor, Warren Widener. Rainbow Sign also served as a movie theater, a venue for film and writing workshops and a floor for dance classes.\u003c/p>\n\u003cp>Mary Ann’s daughter Odette Pollar tells KQED Arts today: “I remember the feeling of Rainbow Sign. It was like walking into somebody’s home. It was very friendly and warm and welcoming. It was a big place but it was always bustling — always something going on. It was fun. Everybody was very accessible.”\u003c/p>\n\u003cfigure id=\"attachment_13927307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-800x972.png\" alt=\"A Black woman with very short hair smiles broadly, looking off in the distance. She is wearing a 1970s-era blouse with lots of ruffles.\" width=\"800\" height=\"972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-800x972.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-1020x1239.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-768x933.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-1265x1536.png 1265w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2.png 1320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mary Ann Pollar. \u003ccite>(Courtesy of Odette Pollar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]W[/dropcap]hen people remember Mary Ann now, it is most frequently through the lens of what she did with Rainbow Sign, which, sadly, closed in 1977 because of financial woes. But Mary Ann was a pillar of the Bay Area community from the time she moved here in 1951.\u003c/p>\n\u003cp>Mary Ann was interested in workers’ rights from a young age. After graduating from Chicago’s Roosevelt University with a degree in labor education, she shared her unionizing knowhow while working with the \u003ca href=\"https://nul.org/\">National Urban League\u003c/a> — a nonprofit that, to this day, works towards economic empowerment, education and civil rights for underserved communities. In the late ’60s, she volunteered with the \u003ca href=\"https://www.un.org/en/observances/un-day\">United Nations Day\u003c/a> Committee, even helping to organize a U.N. birthday party in Oakland in 1968.\u003c/p>\n\u003cp>[aside postid='arts_13887962']“I am a U.N. fan,” she noted at the time. “The whole idea of everybody putting in his two cents’ worth has a lot of meaning for me.”\u003c/p>\n\u003cp>After Rainbow Sign’s closure, Mary Ann went back to this kind of work while employed by AC Transit. For the two decades she worked there, she took part in multiple campaigns to benefit her fellow workers. She encouraged employees to buy savings bonds — a safe and reliable means to invest — and she organized a local union.\u003c/p>\n\u003cp>It was music, however, that first turned Mary Ann into a public figure. In the 1950s, after booking a show for their friend \u003ca href=\"https://www.newyorker.com/culture/culture-desk/how-odetta-revolutionized-folk-music\">Odetta\u003c/a> — a beloved folk and blues musician — Mary Ann and her husband Henry decided to become concert promoters. Under the moniker “Mary Ann Pollar Presents,” the pair booked the likes of Simon and Garfunkel, Taj Mahal, Joan Baez, Frank Zappa, Nancy Wilson, Buffy St. Marie, Nana Mouskouri, Judy Collins, Pete Seeger, Arlo Guthrie, Peter Paul and Mary and, of course, Nina Simone. They were also responsible for booking Bob Dylan’s very first Bay Area concert in 1964.\u003c/p>\n\u003cfigure id=\"attachment_13926549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-800x610.png\" alt=\"\" width=\"800\" height=\"610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-800x610.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-1020x778.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-768x586.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969.png 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An October 1969 newspaper ad for upcoming Mary Ann Pollar Presents concerts by Nina Simone, Pete Seeger and Arlo Guthrie. \u003ccite>(San Francisco Examiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As concert promoters, the Pollars were involved in every single aspect of getting live music to the Bay. It was their job to find appropriate stages when there were very few dedicated live music venues. In the evenings, the couple and a pre-teen Odette would sit around their dining table stuffing envelopes with upcoming concert listings and sending them out to their mailing list. (“I loved it!” Odette says, reminiscing.)\u003c/p>\n\u003cp>The couple handled advertising, ticket printing and distribution, running the box office and even picking up and driving around the artists. After concerts were over, both musicians and audience members would usually resume the party in the Pollars’ living room on Shattuck Avenue. On at least one occasion, singer-songwriter \u003ca href=\"https://www.bobneuwirth.com/\">Bob Neuwith\u003c/a> acted as the designated door guy for the Berkeley home.\u003c/p>\n\u003cp>Because of the dedicated way the couple ran their business, and because they exercised good judgment in their booking, artists grew to trust the name Pollar, and Mary Ann became known well beyond Bay Area music scene.\u003c/p>\n\u003cp>“A lot of people came because they trusted my mom,” Odette says now. “So if there was a new performer and people got a flyer from my mom, people would go, ‘Let’s go. Let’s try it.’ That was very common. In the ’50s and ’60s, this was a small community. Not that many people knew folk music. Everyone was just starting out. Bob Dylan was just starting out!”\u003c/p>\n\u003cp>Though she is often remembered for her love of folk music, Odette mentions that her mom had very eclectic musical tastes — something Mary Ann had been careful to note in her own life.\u003c/p>\n\u003cp>“I’ve never been able to understand why I like folk music so much,” she once said. “I come from a family of Baptist preachers down in Texas on the border of Mexico, so of course I love gospel music. I dig flamenco too. I never had any musical background. I am a listener — really a listener.”\u003c/p>\n\u003cp>[dropcap]T[/dropcap]oday, looking back, Odette speculates that her mother’s childhood may have been the reason Mary Ann carried herself with such confidence and fortitude. Mary Ann grew up in \u003ca href=\"https://missiontexas.us/\">Mission, Texas\u003c/a> — a town so close to the border she grew up speaking fluent Spanish. Mary Ann’s mother, conscious that her daughter would get a better formal education elsewhere, sent Mary Ann to Chicago at the age of 12 to live with relatives. Getting thrown into big city living without her mom by her side proved to be an education for Mary Ann in more ways than one. Mary Ann and her parents would never live in the same place again. Odette’s maternal grandparents died before she could ever meet them.\u003c/p>\n\u003cp>[aside postid='arts_13916612']Mary Ann’s dedication to the Bay Area was not wasted. Even after her death in 1999, her good example and the effects the spaces she created had on others, continue to endure.\u003c/p>\n\u003cp>“Whenever we showed up at the Rainbow Sign, we were greeted with big smiles and warm hugs,” Kamala Harris wrote in her 2019 autobiography, \u003cem>The Truths We Hold\u003c/em>. “Kids like me who spent time at Rainbow Sign were exposed to dozens of extraordinary men and women who showed us what we could become.”\u003c/p>\n\u003cp>“They were risk-takers but not crazy,” Odette says of her parents now. “My dad would say ‘Go to college, get a degree, have fun, do anything you want, but also make sure you have a practical skill to fall back on.’ What I got from my mom,” Odette continues, “is the idea that you could create something from nothing.”\u003c/p>\n\u003cp>Mary Ann Pollar did that over and over and over again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Mary Ann Pollar’s passion was music, but her heart was all about building community.","status":"publish","parent":0,"modified":1705093558,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":1684},"headData":{"title":"Mary Ann Pollar: The Life and Times of the Rainbow Sign Founder | KQED","description":"Mary Ann Pollar’s passion was music, but her heart was all about building community.","ogTitle":"The Concert Promoter Who Founded Berkeley’s Legendary Rainbow Sign","ogDescription":"","ogImgId":"","twTitle":"The Concert Promoter Who Founded Berkeley’s Legendary Rainbow Sign","twDescription":"","twImgId":"","socialTitle":"Mary Ann Pollar: The Life and Times of the Rainbow Sign Founder %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Concert Promoter Who Founded Berkeley’s Legendary Rainbow Sign","datePublished":"2023-03-31T21:27:32.000Z","dateModified":"2024-01-12T21:05:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/ba113172-3433-4b29-b684-afee0169b66e/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13926548/mary-ann-pollar-presents-rainbow-sign-berkeley-nina-simone-bob-dylan","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>ne afternoon in 1972, Nina Simone was getting ready to appear at Rainbow Sign, a Black cultural center that had recently opened in Berkeley. Situated at 2640 Grove St (today’s Martin Luther King Jr. Way), the venue had been set up by local concert promoter Mary Ann Pollar the year prior. After Simone and Pollar had finished eating lunch, they were on the way out of the building when they encountered two young girls in the hall, approximately 10 and 12 years old. They immediately caught Simone’s eye.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11901099","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Aren’t you supposed to be in school now?” Simone asked.\u003c/p>\n\u003cp>“Oh, I don’t have to go to school,” the older child said. “I’m going to be a singer like you.”\u003c/p>\n\u003cp>Simone immediately went into mentor mode. “Out of the next 100 people who walk in here, perhaps 90 can sing as well as I do,” Simone told the girl. “Do you really want to know how to become a singer?”\u003c/p>\n\u003cp>Simone took both girls aside and talked to them for 45 minutes about the importance of education, commitment and working hard towards their goals. Simone made clear that raw talent alone was not enough to make it in the world. It was a stunning — and probably life-changing — interaction for the girls, who had shown up just hoping to catch a glimpse of their hero. A couple of years later, Mary Ann Pollar relayed the story to local journalist Sandra Greenlow.\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>“In one way,” she said, “we probably scared those children half to death. In another though, [Simone] gave them a priceless lesson.”\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1509542736495529991"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>For the six years it was open, Rainbow Sign was a hotspot for the kind of exchanges that Simone and those Berkeley children had that day. It was a venue that entertained audiences with some of the greatest Black artists of the time — Curtis Mayfield, Marvin Gaye, Pharoah Sanders, Oscar Brown Jr. and Simone amongst them. Writers like Maya Angelou, James Baldwin, Alex Haley, Alice Walker and Joyce Carol Thomas gave readings there. Historians like Samella Lewis and Mrs. W. E. B. DuBois gave talks. Legendary dancer Josephine Baker even appeared in the 200-seat hall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13874853","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>At the time, Mary Ann tried to explain what made her intimate venue so appealing to such major artists. “It’s an energy,” she said. “It floats in the air. In other places people overhear the performers. In this room, they listen. I don’t know what explains it, but here it’s more than just someone standing on a stage.”\u003c/p>\n\u003cp>Rainbow Sign was much more than a music hall too. It hosted weddings, tea parties, art shows and children’s events. It was the venue at which Shirley Chisholm announced her presidential run. It was a restaurant that served up Mary Ann’s spectacular cooking — smothered steak, fried chicken and dessert pies were all raved-about favorites. The banquet hall hosted the League of Women voters, the NAACP and the Urban League. Rainbow Sign was a place where employees recently released from San Quentin could rub shoulders with Berkeley’s first Black mayor, Warren Widener. Rainbow Sign also served as a movie theater, a venue for film and writing workshops and a floor for dance classes.\u003c/p>\n\u003cp>Mary Ann’s daughter Odette Pollar tells KQED Arts today: “I remember the feeling of Rainbow Sign. It was like walking into somebody’s home. It was very friendly and warm and welcoming. It was a big place but it was always bustling — always something going on. It was fun. Everybody was very accessible.”\u003c/p>\n\u003cfigure id=\"attachment_13927307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-800x972.png\" alt=\"A Black woman with very short hair smiles broadly, looking off in the distance. She is wearing a 1970s-era blouse with lots of ruffles.\" width=\"800\" height=\"972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-800x972.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-1020x1239.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-768x933.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-1265x1536.png 1265w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2.png 1320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mary Ann Pollar. \u003ccite>(Courtesy of Odette Pollar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen people remember Mary Ann now, it is most frequently through the lens of what she did with Rainbow Sign, which, sadly, closed in 1977 because of financial woes. But Mary Ann was a pillar of the Bay Area community from the time she moved here in 1951.\u003c/p>\n\u003cp>Mary Ann was interested in workers’ rights from a young age. After graduating from Chicago’s Roosevelt University with a degree in labor education, she shared her unionizing knowhow while working with the \u003ca href=\"https://nul.org/\">National Urban League\u003c/a> — a nonprofit that, to this day, works towards economic empowerment, education and civil rights for underserved communities. In the late ’60s, she volunteered with the \u003ca href=\"https://www.un.org/en/observances/un-day\">United Nations Day\u003c/a> Committee, even helping to organize a U.N. birthday party in Oakland in 1968.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13887962","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I am a U.N. fan,” she noted at the time. “The whole idea of everybody putting in his two cents’ worth has a lot of meaning for me.”\u003c/p>\n\u003cp>After Rainbow Sign’s closure, Mary Ann went back to this kind of work while employed by AC Transit. For the two decades she worked there, she took part in multiple campaigns to benefit her fellow workers. She encouraged employees to buy savings bonds — a safe and reliable means to invest — and she organized a local union.\u003c/p>\n\u003cp>It was music, however, that first turned Mary Ann into a public figure. In the 1950s, after booking a show for their friend \u003ca href=\"https://www.newyorker.com/culture/culture-desk/how-odetta-revolutionized-folk-music\">Odetta\u003c/a> — a beloved folk and blues musician — Mary Ann and her husband Henry decided to become concert promoters. Under the moniker “Mary Ann Pollar Presents,” the pair booked the likes of Simon and Garfunkel, Taj Mahal, Joan Baez, Frank Zappa, Nancy Wilson, Buffy St. Marie, Nana Mouskouri, Judy Collins, Pete Seeger, Arlo Guthrie, Peter Paul and Mary and, of course, Nina Simone. They were also responsible for booking Bob Dylan’s very first Bay Area concert in 1964.\u003c/p>\n\u003cfigure id=\"attachment_13926549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-800x610.png\" alt=\"\" width=\"800\" height=\"610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-800x610.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-1020x778.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-768x586.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969.png 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An October 1969 newspaper ad for upcoming Mary Ann Pollar Presents concerts by Nina Simone, Pete Seeger and Arlo Guthrie. \u003ccite>(San Francisco Examiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As concert promoters, the Pollars were involved in every single aspect of getting live music to the Bay. It was their job to find appropriate stages when there were very few dedicated live music venues. In the evenings, the couple and a pre-teen Odette would sit around their dining table stuffing envelopes with upcoming concert listings and sending them out to their mailing list. (“I loved it!” Odette says, reminiscing.)\u003c/p>\n\u003cp>The couple handled advertising, ticket printing and distribution, running the box office and even picking up and driving around the artists. After concerts were over, both musicians and audience members would usually resume the party in the Pollars’ living room on Shattuck Avenue. On at least one occasion, singer-songwriter \u003ca href=\"https://www.bobneuwirth.com/\">Bob Neuwith\u003c/a> acted as the designated door guy for the Berkeley home.\u003c/p>\n\u003cp>Because of the dedicated way the couple ran their business, and because they exercised good judgment in their booking, artists grew to trust the name Pollar, and Mary Ann became known well beyond Bay Area music scene.\u003c/p>\n\u003cp>“A lot of people came because they trusted my mom,” Odette says now. “So if there was a new performer and people got a flyer from my mom, people would go, ‘Let’s go. Let’s try it.’ That was very common. In the ’50s and ’60s, this was a small community. Not that many people knew folk music. Everyone was just starting out. Bob Dylan was just starting out!”\u003c/p>\n\u003cp>Though she is often remembered for her love of folk music, Odette mentions that her mom had very eclectic musical tastes — something Mary Ann had been careful to note in her own life.\u003c/p>\n\u003cp>“I’ve never been able to understand why I like folk music so much,” she once said. “I come from a family of Baptist preachers down in Texas on the border of Mexico, so of course I love gospel music. I dig flamenco too. I never had any musical background. I am a listener — really a listener.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>oday, looking back, Odette speculates that her mother’s childhood may have been the reason Mary Ann carried herself with such confidence and fortitude. Mary Ann grew up in \u003ca href=\"https://missiontexas.us/\">Mission, Texas\u003c/a> — a town so close to the border she grew up speaking fluent Spanish. Mary Ann’s mother, conscious that her daughter would get a better formal education elsewhere, sent Mary Ann to Chicago at the age of 12 to live with relatives. Getting thrown into big city living without her mom by her side proved to be an education for Mary Ann in more ways than one. Mary Ann and her parents would never live in the same place again. Odette’s maternal grandparents died before she could ever meet them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13916612","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Mary Ann’s dedication to the Bay Area was not wasted. Even after her death in 1999, her good example and the effects the spaces she created had on others, continue to endure.\u003c/p>\n\u003cp>“Whenever we showed up at the Rainbow Sign, we were greeted with big smiles and warm hugs,” Kamala Harris wrote in her 2019 autobiography, \u003cem>The Truths We Hold\u003c/em>. “Kids like me who spent time at Rainbow Sign were exposed to dozens of extraordinary men and women who showed us what we could become.”\u003c/p>\n\u003cp>“They were risk-takers but not crazy,” Odette says of her parents now. “My dad would say ‘Go to college, get a degree, have fun, do anything you want, but also make sure you have a practical skill to fall back on.’ What I got from my mom,” Odette continues, “is the idea that you could create something from nothing.”\u003c/p>\n\u003cp>Mary Ann Pollar did that over and over and over again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13926548/mary-ann-pollar-presents-rainbow-sign-berkeley-nina-simone-bob-dylan","authors":["11242"],"programs":["arts_8978"],"categories":["arts_1","arts_7862","arts_11615"],"tags":["arts_888","arts_1270","arts_638","arts_8167","arts_10278","arts_2415","arts_2154","arts_21841"],"featImg":"arts_13927306","label":"arts_8978"},"arts_13920900":{"type":"posts","id":"arts_13920900","meta":{"index":"posts_1591205157","site":"arts","id":"13920900","score":null,"sort":[1666809813000]},"guestAuthors":[],"slug":"once-booming-where-are-the-blues-in-san-francisco-now","title":"Once Booming, Where Are the Blues in San Francisco Now?","publishDate":1666809813,"format":"standard","headTitle":"Once Booming, Where Are the Blues in San Francisco Now? | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>No take on San Francisco is more clichéd than proclaiming that the year of one’s arrival was a golden age from which the city has steadily descended, shedding its luster with each passing season. And when it comes to the city’s blues scene, one can make a righteous case for any decade in the latter half of the 20th century as a high-water mark.\u003c/p>\n\u003cp>But by God, the mid-1990s, when I just happened to move to the Bay Area, was an extraordinary moment for the blues in San Francisco, an era reigned over by one of the fiercest artists ever to walk the earth, John Lee Hooker.\u003c/p>\n\u003cp>A potent artifact from that long-gone moment arrives Friday with the Craft Recordings reissue of Hooker’s epochal 1989 hit album \u003cem>The Healer\u003c/em>, which reignited his career amidst a gaudy cast of guest artists eager to bask in his sharkskin-suited glory, including Carlos Santana, George Thorogood, Los Lobos, Canned Heat, Charlie Musselwhite and Robert Cray.\u003c/p>\n\u003cp>Out of print for the past decade, the album not only earned the 73-year-old guitarist, vocalist and songwriter his first Grammy Award (for the Bonnie Raitt duet “I’m in the Mood”), it put Hooker at the center of the scene when the blues still occupied a significant swath of the cultural terrain.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0n6fctAUjX4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hooker went on to make several more popular albums also produced by slide guitarist Roy Rogers, while various labels excavated his vast discography, which got off to a brilliant start with his chart-topping 1948 single “Boogie Chillen.” His iconic status continued to grow over the next decade with his 1991 induction into the Rock and Roll Hall of Fame and his Grammy Lifetime Achievement Award in 2000.\u003c/p>\n\u003ch2>National icon, local legend\u003c/h2>\n\u003cp>Locally, Hooker’s star hung over the Fillmore, where Alexander Andreas rechristened a nightspot long known as Jack’s Tavern as the Boom Boom Room, in honor of Hooker’s signature 1962 hit, “Boom Boom.” Contrary to the widespread belief that Hooker owned a piece of the club, Andreas made him an honorary partner, and many a night he could be found behind a red velvet rope in his reserved booth, surrounded by a bevy of ladies and a coterie of musicians. Occasionally a brave fan might approach to pay homage.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"arts_13876143,arts_13809453,arts_13897443\"]Robert Cray, who toured widely with Hooker as an opening act and appeared on \u003cem>The Healer\u003c/em>’s funky third track “Baby Lee,” recalled the scene on the Boom Boom Room’s opening night, when the club was packed with dozens of other musicians, television crews and Mayor Willie Brown.\u003c/p>\n\u003cp>“The impact of \u003cem>The Healer\u003c/em> was huge, and then when the Boom Boom Room opened it meant people knew where to find him,” Cray said. “John always seemed to me to have this great attitude about everything. He always had people around who adored him. It was a really exciting time. Carlos and Bonnie Raitt would pop in. We played the San Francisco Blues Festival, the Sacramento Blues Festival and all the clubs in San Francisco and the South Bay. It was pretty live.”\u003c/p>\n\u003cp>As late as the 1990s, the blues scene was still inextricably linked to the frisson around the Fillmore Auditorium in the 1960s — when a rising generation of white Chicago transplants (including Paul Butterfield, Barry Goldberg, Elvin Bishop and Mike Bloomfield) all prevailed upon Bill Graham to present the Black masters who’d mentored them on the Southside (particularly Howlin’ Wolf, Muddy Waters and B.B. King). It’s a story well-told in filmmaker Bob Sarles’ 2021 documentary \u003ca href=\"https://www.youtube.com/watch?v=A8X1n58B9Dw\">\u003cem>Born in Chicago\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The 1960s also saw Hooker connecting with the blues-besotted cohort of young British musicians on the swinging London scene, and it’s no coincidence that the Yardbirds, the Spencer Davis Group and the Animals all recorded his songs. He moved to Oakland late in the decade and worked steadily, with a particularly fruitful collaboration with Canned Heat. When \u003cem>The Healer\u003c/em> put him back on top, he took it all in stride.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nUUyFrHERpU\u003c/p>\n\u003cp>Bassist Ruth Davies, who recorded with Hooker on several albums following \u003cem>The Healer\u003c/em>, remembers one celebratory night at the Boom Boom Room after he’d won two Grammys for his 1997 album \u003cem>Don’t Look Back\u003c/em>, which was co-produced by Van Morrison. He spotted her in the club and motioned for her to join him.\u003c/p>\n\u003cp>“I felt so privileged,” said Davies (who performs \u003ca href=\"https://secure.thefreight.org/11704/pamela-rose-presents-blues-is-a-woman\">Nov. 19 at Freight & Salvage\u003c/a> backing Pamela Rose’s \u003cem>Blues Is a Woman\u003c/em>). Before Davies started working with Hooker, she gained prominence during her long tenure with West Coast blues legend Charles Brown, and went on to tour and record with guitarist Elvin Bishop’s band.\u003c/p>\n\u003cp>“A lot of the blues legends were living here around that time,” Davies said. “Etta James, Charlie Musselwhite and Elvin Bishop were here. Bonnie Raitt was in Marin, and she did so much to help revive Charles Brown’s career.\u003c/p>\n\u003cfigure id=\"attachment_13920970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/With-John-Lee-Hooker.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920970\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/With-John-Lee-Hooker-800x739.jpg\" alt=\"an older Black man in a hat and sungalsses next to a white woman with bangs in a dark suit in a club\" width=\"800\" height=\"739\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-800x739.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-1020x942.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-768x709.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-1536x1418.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-2048x1891.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-1920x1773.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John Lee Hooker and Ruth Davies in Hooker’s booth at the Boom Boom Room. \u003ccite>(Courtesy of Ruth Davies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“But it wasn’t just the scene here. Traveling was easier. When I started touring with Charles, we did a lot of concerts and festivals, and it seemed like there were three tiers. There were the stars who got paid the most. The middle tier — Charles was in that group. And the local artists. That middle tier is gone,” she said, along with the post-World War II generation of innovators. (Now 86, guitar legend Buddy Guy recently announced a farewell tour in 2023.)\u003c/p>\n\u003ch2>A shifting center of gravity\u003c/h2>\n\u003cp>The infrastructure that sustained the scene has also all but disappeared, with nothing arising to fill the void left by the end of the San Francisco Blues Festival, a major annual event that ran from 1973-2008. The city’s dwindling Black population is another challenge, but the story is similar all over the region. Oakland long boasted a more vital and influential blues scene than San Francisco, anchoring an East Bay soul archipelago that stretched from Richmond and Berkeley out to Camp Stoneman in Pittsburg, and almost all of the clubs and joints that once hosted the blues are gone.\u003c/p>\n\u003cp>Still, the music’s inextricable roots in Black culture continue to manifest in various guises. \u003ca href=\"https://www.fayecarol.com/\">The Dynamic Miss Faye Carol\u003c/a> provides an essential link to the glory days of the East Bay scenes wherever she performs (like her\u003ca href=\"https://secure.thefreight.org/11867/black-womens-roots-festival\"> Black Women’s Roots Festival\u003c/a>, Nov. 27 at Freight & Salvage). Oakland blues vocalist Terrie Odabi has carved out an international career over the past decade, and some of the Bay Area’s best jazz vocalists, like Kim Nalley and Tiffany Austin, make a point of including blues as an essential thread in jazz’s elastic fabric. \u003ca href=\"http://littlevillagefoundation.com/\">The Little Village Foundation\u003c/a> label, created by veteran blues keyboardist and John Lee Hooker sideman Jim Pugh, has boosted the careers of several Bay Area blues artists, like Mumbai-born harmonica player Aki Kumar.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W2EG6svjz0w\u003c/p>\n\u003cp>Meanwhile, the music’s center of gravity continues to shift away from San Francisco. Yoshi’s keeps blues in the musical mix, with shows like the Nov. 21 \u003ca href=\"https://yoshis.com/events/buy-tickets/bay-area-harmonica-convergence-1/detail\">Bay Area Harmonica Convergence\u003c/a>. Norwegian-born San Jose guitarist and recording engineer Kid Andersen has turned his \u003ca href=\"https://www.facebook.com/Greaseland/\">Greaseland Studios\u003c/a> into the top spot for Bay Area blues acts to document their music (while working hand-in-hand with Little Village). San Jose’s \u003ca href=\"https://poorhousebistro.com/\">Poor House Bistro\u003c/a> just relocated — literally the entire building — to Little Italy, to make way for Google’s massive new downtown development. Blues great Angela Strehli’s \u003ca href=\"https://www.ranchonicasio.com/\">Rancho Nicasio\u003c/a> is an important outpost in the North Bay, while the biggest blues bills tend to take place at Vallejo’s Empress Theatre.\u003c/p>\n\u003cp>“It’s the same thing in Seattle,” Cray said. “There used to be a bunch of clubs in town. Now we always hit the outskirts, where there might be the theaters and some of the clubs. We’re not downtown in places where it used it happen.”\u003c/p>\n\u003cp>In San Francisco, Myron Mu has kept \u003ca href=\"http://sfblues.weebly.com/saloon-schedule.html\">The Saloon in North Beach\u003c/a>, the city’s oldest venue, in business presenting blues seven nights a week. The city’s premiere club, \u003ca href=\"https://biscuitsandblues.com/\">Biscuits & Blues\u003c/a>, still hasn’t reopened since it was forced to shutter in 2019 by a persistent plumbing problem and an ensuing legal struggle with the neighboring Jack In the Box — but that might finally be coming to an end, said owner Steven Suen said. More than optimistic, he sounded downright philosophic about a musical tradition born out of a need to find solace and communal release in hard times.\u003c/p>\n\u003cp>“The blues as a form of music will never die,” said Suen, who was born in Hong Kong and ended up buying the club after he started managing the venue in 2006. “People keep going back to the roots, figuring out how that music comes about. It will always have a place. It’s not a popular thing, but once people experience it they’ll find something special.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"A new reissue of John Lee Hooker's 1989 album 'The Healer' recalls the city's active blues scene.","status":"publish","parent":0,"modified":1705006229,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1606},"headData":{"title":"Once Booming, Where Are the Blues in San Francisco Now? | KQED","description":"A new reissue of John Lee Hooker's 1989 album 'The Healer' recalls the city's active blues scene.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Once Booming, Where Are the Blues in San Francisco Now?","datePublished":"2022-10-26T18:43:33.000Z","dateModified":"2024-01-11T20:50:29.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13920900/once-booming-where-are-the-blues-in-san-francisco-now","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>No take on San Francisco is more clichéd than proclaiming that the year of one’s arrival was a golden age from which the city has steadily descended, shedding its luster with each passing season. And when it comes to the city’s blues scene, one can make a righteous case for any decade in the latter half of the 20th century as a high-water mark.\u003c/p>\n\u003cp>But by God, the mid-1990s, when I just happened to move to the Bay Area, was an extraordinary moment for the blues in San Francisco, an era reigned over by one of the fiercest artists ever to walk the earth, John Lee Hooker.\u003c/p>\n\u003cp>A potent artifact from that long-gone moment arrives Friday with the Craft Recordings reissue of Hooker’s epochal 1989 hit album \u003cem>The Healer\u003c/em>, which reignited his career amidst a gaudy cast of guest artists eager to bask in his sharkskin-suited glory, including Carlos Santana, George Thorogood, Los Lobos, Canned Heat, Charlie Musselwhite and Robert Cray.\u003c/p>\n\u003cp>Out of print for the past decade, the album not only earned the 73-year-old guitarist, vocalist and songwriter his first Grammy Award (for the Bonnie Raitt duet “I’m in the Mood”), it put Hooker at the center of the scene when the blues still occupied a significant swath of the cultural terrain.\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/0n6fctAUjX4'\n title='//www.youtube.com/embed/0n6fctAUjX4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>Hooker went on to make several more popular albums also produced by slide guitarist Roy Rogers, while various labels excavated his vast discography, which got off to a brilliant start with his chart-topping 1948 single “Boogie Chillen.” His iconic status continued to grow over the next decade with his 1991 induction into the Rock and Roll Hall of Fame and his Grammy Lifetime Achievement Award in 2000.\u003c/p>\n\u003ch2>National icon, local legend\u003c/h2>\n\u003cp>Locally, Hooker’s star hung over the Fillmore, where Alexander Andreas rechristened a nightspot long known as Jack’s Tavern as the Boom Boom Room, in honor of Hooker’s signature 1962 hit, “Boom Boom.” Contrary to the widespread belief that Hooker owned a piece of the club, Andreas made him an honorary partner, and many a night he could be found behind a red velvet rope in his reserved booth, surrounded by a bevy of ladies and a coterie of musicians. Occasionally a brave fan might approach to pay homage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"Related Stories ","postid":"arts_13876143,arts_13809453,arts_13897443"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Robert Cray, who toured widely with Hooker as an opening act and appeared on \u003cem>The Healer\u003c/em>’s funky third track “Baby Lee,” recalled the scene on the Boom Boom Room’s opening night, when the club was packed with dozens of other musicians, television crews and Mayor Willie Brown.\u003c/p>\n\u003cp>“The impact of \u003cem>The Healer\u003c/em> was huge, and then when the Boom Boom Room opened it meant people knew where to find him,” Cray said. “John always seemed to me to have this great attitude about everything. He always had people around who adored him. It was a really exciting time. Carlos and Bonnie Raitt would pop in. We played the San Francisco Blues Festival, the Sacramento Blues Festival and all the clubs in San Francisco and the South Bay. It was pretty live.”\u003c/p>\n\u003cp>As late as the 1990s, the blues scene was still inextricably linked to the frisson around the Fillmore Auditorium in the 1960s — when a rising generation of white Chicago transplants (including Paul Butterfield, Barry Goldberg, Elvin Bishop and Mike Bloomfield) all prevailed upon Bill Graham to present the Black masters who’d mentored them on the Southside (particularly Howlin’ Wolf, Muddy Waters and B.B. King). It’s a story well-told in filmmaker Bob Sarles’ 2021 documentary \u003ca href=\"https://www.youtube.com/watch?v=A8X1n58B9Dw\">\u003cem>Born in Chicago\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The 1960s also saw Hooker connecting with the blues-besotted cohort of young British musicians on the swinging London scene, and it’s no coincidence that the Yardbirds, the Spencer Davis Group and the Animals all recorded his songs. He moved to Oakland late in the decade and worked steadily, with a particularly fruitful collaboration with Canned Heat. When \u003cem>The Healer\u003c/em> put him back on top, he took it all in stride.\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/nUUyFrHERpU'\n title='//www.youtube.com/embed/nUUyFrHERpU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bassist Ruth Davies, who recorded with Hooker on several albums following \u003cem>The Healer\u003c/em>, remembers one celebratory night at the Boom Boom Room after he’d won two Grammys for his 1997 album \u003cem>Don’t Look Back\u003c/em>, which was co-produced by Van Morrison. He spotted her in the club and motioned for her to join him.\u003c/p>\n\u003cp>“I felt so privileged,” said Davies (who performs \u003ca href=\"https://secure.thefreight.org/11704/pamela-rose-presents-blues-is-a-woman\">Nov. 19 at Freight & Salvage\u003c/a> backing Pamela Rose’s \u003cem>Blues Is a Woman\u003c/em>). Before Davies started working with Hooker, she gained prominence during her long tenure with West Coast blues legend Charles Brown, and went on to tour and record with guitarist Elvin Bishop’s band.\u003c/p>\n\u003cp>“A lot of the blues legends were living here around that time,” Davies said. “Etta James, Charlie Musselwhite and Elvin Bishop were here. Bonnie Raitt was in Marin, and she did so much to help revive Charles Brown’s career.\u003c/p>\n\u003cfigure id=\"attachment_13920970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/With-John-Lee-Hooker.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920970\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/With-John-Lee-Hooker-800x739.jpg\" alt=\"an older Black man in a hat and sungalsses next to a white woman with bangs in a dark suit in a club\" width=\"800\" height=\"739\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-800x739.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-1020x942.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-768x709.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-1536x1418.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-2048x1891.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-1920x1773.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John Lee Hooker and Ruth Davies in Hooker’s booth at the Boom Boom Room. \u003ccite>(Courtesy of Ruth Davies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“But it wasn’t just the scene here. Traveling was easier. When I started touring with Charles, we did a lot of concerts and festivals, and it seemed like there were three tiers. There were the stars who got paid the most. The middle tier — Charles was in that group. And the local artists. That middle tier is gone,” she said, along with the post-World War II generation of innovators. (Now 86, guitar legend Buddy Guy recently announced a farewell tour in 2023.)\u003c/p>\n\u003ch2>A shifting center of gravity\u003c/h2>\n\u003cp>The infrastructure that sustained the scene has also all but disappeared, with nothing arising to fill the void left by the end of the San Francisco Blues Festival, a major annual event that ran from 1973-2008. The city’s dwindling Black population is another challenge, but the story is similar all over the region. Oakland long boasted a more vital and influential blues scene than San Francisco, anchoring an East Bay soul archipelago that stretched from Richmond and Berkeley out to Camp Stoneman in Pittsburg, and almost all of the clubs and joints that once hosted the blues are gone.\u003c/p>\n\u003cp>Still, the music’s inextricable roots in Black culture continue to manifest in various guises. \u003ca href=\"https://www.fayecarol.com/\">The Dynamic Miss Faye Carol\u003c/a> provides an essential link to the glory days of the East Bay scenes wherever she performs (like her\u003ca href=\"https://secure.thefreight.org/11867/black-womens-roots-festival\"> Black Women’s Roots Festival\u003c/a>, Nov. 27 at Freight & Salvage). Oakland blues vocalist Terrie Odabi has carved out an international career over the past decade, and some of the Bay Area’s best jazz vocalists, like Kim Nalley and Tiffany Austin, make a point of including blues as an essential thread in jazz’s elastic fabric. \u003ca href=\"http://littlevillagefoundation.com/\">The Little Village Foundation\u003c/a> label, created by veteran blues keyboardist and John Lee Hooker sideman Jim Pugh, has boosted the careers of several Bay Area blues artists, like Mumbai-born harmonica player Aki Kumar.\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/W2EG6svjz0w'\n title='//www.youtube.com/embed/W2EG6svjz0w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Meanwhile, the music’s center of gravity continues to shift away from San Francisco. Yoshi’s keeps blues in the musical mix, with shows like the Nov. 21 \u003ca href=\"https://yoshis.com/events/buy-tickets/bay-area-harmonica-convergence-1/detail\">Bay Area Harmonica Convergence\u003c/a>. Norwegian-born San Jose guitarist and recording engineer Kid Andersen has turned his \u003ca href=\"https://www.facebook.com/Greaseland/\">Greaseland Studios\u003c/a> into the top spot for Bay Area blues acts to document their music (while working hand-in-hand with Little Village). San Jose’s \u003ca href=\"https://poorhousebistro.com/\">Poor House Bistro\u003c/a> just relocated — literally the entire building — to Little Italy, to make way for Google’s massive new downtown development. Blues great Angela Strehli’s \u003ca href=\"https://www.ranchonicasio.com/\">Rancho Nicasio\u003c/a> is an important outpost in the North Bay, while the biggest blues bills tend to take place at Vallejo’s Empress Theatre.\u003c/p>\n\u003cp>“It’s the same thing in Seattle,” Cray said. “There used to be a bunch of clubs in town. Now we always hit the outskirts, where there might be the theaters and some of the clubs. We’re not downtown in places where it used it happen.”\u003c/p>\n\u003cp>In San Francisco, Myron Mu has kept \u003ca href=\"http://sfblues.weebly.com/saloon-schedule.html\">The Saloon in North Beach\u003c/a>, the city’s oldest venue, in business presenting blues seven nights a week. The city’s premiere club, \u003ca href=\"https://biscuitsandblues.com/\">Biscuits & Blues\u003c/a>, still hasn’t reopened since it was forced to shutter in 2019 by a persistent plumbing problem and an ensuing legal struggle with the neighboring Jack In the Box — but that might finally be coming to an end, said owner Steven Suen said. More than optimistic, he sounded downright philosophic about a musical tradition born out of a need to find solace and communal release in hard times.\u003c/p>\n\u003cp>“The blues as a form of music will never die,” said Suen, who was born in Hong Kong and ended up buying the club after he started managing the venue in 2006. “People keep going back to the roots, figuring out how that music comes about. It will always have a place. It’s not a popular thing, but once people experience it they’ll find something special.”\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>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13920900/once-booming-where-are-the-blues-in-san-francisco-now","authors":["86"],"categories":["arts_1","arts_69"],"tags":["arts_638","arts_10342","arts_5732","arts_2996","arts_4107"],"featImg":"arts_13920896","label":"arts"},"arts_13898182":{"type":"posts","id":"arts_13898182","meta":{"index":"posts_1591205157","site":"arts","id":"13898182","score":null,"sort":[1622665923000]},"guestAuthors":[],"slug":"the-23rd-healdsburg-jazz-festival-returns-with-in-person-performances","title":"The 23rd Healdsburg Jazz Festival Returns With In-Person Performances","publishDate":1622665923,"format":"standard","headTitle":"The 23rd Healdsburg Jazz Festival Returns With In-Person Performances | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://healdsburgjazz.org/jazz-festival-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Healdsburg Jazz Festival\u003c/a> has announced its complete lineup for its 23rd edition this June 17–20, featuring four days of in-person performances by award-winning artists.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The first official event of the festival will be the opening night gala Harlem of the West on June 17, featuring Stella Heath and her Harlem of the West band, a musical collective of Bay Area artists, and the Healdsburg Jazz student All-Star ensemble. Friday, June 18 will continue the celebration with the Barbary Coast dinner show, celebrating San Francisco’s history of the Gold Rush era and the early 20th-century popularization of jazz with performances from Katie and the Lost Boys. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">June 19 will bring the inaugural all-day Healdsburg Jazz Juneteenth Celebration, with a star-studded lineup featuring \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13892137/faye-carol-celebrates-the-diversity-of-black-music-with-virtual-concerts\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">The Dynamic Miss Faye Carol\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and her Trio, San Francisco Poet Laureate \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13893308/tongo-eisen-martin-on-a-poets-role-in-a-protest\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Tongo Eisen-Martin\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Donald Lacy, the \u003ca href=\"https://www.kqed.org/arts/13896360/artists-put-the-struggles-and-hopes-of-the-past-year-to-music-at-sjz-new-works-fest\" target=\"_blank\" rel=\"noopener noreferrer\">Howard Wiley Trio\u003c/a>, and more. On June 20, the festival will continue with a Father’s Day concert, featuring Grammy-award nominated and Oakland-based musician Kenny Washington. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Founded 23 years ago, Healdsburg Jazz is a Bay Area-based nonprofit organization that aims to celebrate the art form of jazz through its annual festival and various educational initiatives. “We are proud to present a festival that is inclusive, diverse, and representative of our Healdsburg community and vision for the future,” said artistic director Marcus Shelby. “This year, Healdsburg Jazz will explore the intersection of music with a range of artforms.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">All performances will take place outdoors, and this year’s festival will kick off with a pre-festival event on Wednesday, June 16 at Harmon Guest House Rooftop Deck, with 20% of proceeds benefiting Healdsburg Jazz. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The full lineup and ticket details can be found \u003c/span>\u003ca href=\"https://healdsburgjazz.org/jazz-festival-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">here\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":"The event features a long weekend of outdoor performances for Juneteenth and Father's Day. ","status":"publish","parent":0,"modified":1705008279,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":307},"headData":{"title":"The 23rd Healdsburg Jazz Festival Returns With In-Person Performances | KQED","description":"The event features a long weekend of outdoor performances for Juneteenth and Father's Day. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 23rd Healdsburg Jazz Festival Returns With In-Person Performances","datePublished":"2021-06-02T20:32:03.000Z","dateModified":"2024-01-11T21:24:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","subhead":"All performances will take place outdoors for the four-day festival","path":"/arts/13898182/the-23rd-healdsburg-jazz-festival-returns-with-in-person-performances","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://healdsburgjazz.org/jazz-festival-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Healdsburg Jazz Festival\u003c/a> has announced its complete lineup for its 23rd edition this June 17–20, featuring four days of in-person performances by award-winning artists.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The first official event of the festival will be the opening night gala Harlem of the West on June 17, featuring Stella Heath and her Harlem of the West band, a musical collective of Bay Area artists, and the Healdsburg Jazz student All-Star ensemble. Friday, June 18 will continue the celebration with the Barbary Coast dinner show, celebrating San Francisco’s history of the Gold Rush era and the early 20th-century popularization of jazz with performances from Katie and the Lost Boys. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">June 19 will bring the inaugural all-day Healdsburg Jazz Juneteenth Celebration, with a star-studded lineup featuring \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13892137/faye-carol-celebrates-the-diversity-of-black-music-with-virtual-concerts\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">The Dynamic Miss Faye Carol\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and her Trio, San Francisco Poet Laureate \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13893308/tongo-eisen-martin-on-a-poets-role-in-a-protest\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Tongo Eisen-Martin\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Donald Lacy, the \u003ca href=\"https://www.kqed.org/arts/13896360/artists-put-the-struggles-and-hopes-of-the-past-year-to-music-at-sjz-new-works-fest\" target=\"_blank\" rel=\"noopener noreferrer\">Howard Wiley Trio\u003c/a>, and more. On June 20, the festival will continue with a Father’s Day concert, featuring Grammy-award nominated and Oakland-based musician Kenny Washington. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Founded 23 years ago, Healdsburg Jazz is a Bay Area-based nonprofit organization that aims to celebrate the art form of jazz through its annual festival and various educational initiatives. “We are proud to present a festival that is inclusive, diverse, and representative of our Healdsburg community and vision for the future,” said artistic director Marcus Shelby. “This year, Healdsburg Jazz will explore the intersection of music with a range of artforms.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">All performances will take place outdoors, and this year’s festival will kick off with a pre-festival event on Wednesday, June 16 at Harmon Guest House Rooftop Deck, with 20% of proceeds benefiting Healdsburg Jazz. \u003c/span>\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>\u003cspan style=\"font-weight: 400\">The full lineup and ticket details can be found \u003c/span>\u003ca href=\"https://healdsburgjazz.org/jazz-festival-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">here\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13898182/the-23rd-healdsburg-jazz-festival-returns-with-in-person-performances","authors":["11734"],"categories":["arts_1"],"tags":["arts_8355","arts_638","arts_10278","arts_1420","arts_7465","arts_585"],"featImg":"arts_13892175","label":"arts"},"arts_13897443":{"type":"posts","id":"arts_13897443","meta":{"index":"posts_1591205157","site":"arts","id":"13897443","score":null,"sort":[1622149239000]},"guestAuthors":[],"slug":"up-for-a-blues-award-oaklands-terrie-odabi-advocates-for-black-women-in-the-genre","title":"Up for a Blues Award, Oakland’s Terrie Odabi Advocates for Black Women in the Genre","publishDate":1622149239,"format":"standard","headTitle":"Up for a Blues Award, Oakland’s Terrie Odabi Advocates for Black Women in the Genre | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>It’s not that Terrie Odabi doesn’t appreciate her nomination for best soul blues female artist in the\u003ca href=\"https://blues.org/blues-music-awards/\"> 42nd annual Blues Music Awards\u003c/a>. The Oakland vocalist loves standing in contention alongside the formidable women who helped pave the way for her, including Bettye LaVette and Dorothy Moore.\u003c/p>\n\u003cp>But when the Memphis-based \u003ca href=\"https://blues.org\">Blues Music Foundation\u003c/a> presents its virtual awards ceremony on June 6, Odabi will keep her focus on a bigger picture. Since the advent of the pandemic, with no gigs or even rehearsals on the horizon, she’s been gathering online weekly with a cadre of women blues artists to talk about the state of the industry. And like much of the country is starting to confront racist legacies in the wake of George Floyd’s murder, Odabi and her peers are pushing for a blues reckoning.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NKoPW8cIoiE\u003c/p>\n\u003cp>Often overlooked by labels, under-booked by clubs and marginalized by American blues festivals, “Black women find it very difficult to make any headway in the blues scene,” she said. “It’s not a billion dollar industry, but you can make a living. We wanted to do something to try to change it rather than complaining.”\u003c/p>\n\u003cp>The women have organized around the petition “\u003ca href=\"https://www.change.org/p/music-fans-blues-artists-and-fans-against-racism\">Artists, fans, allies for equity and equality in the blues\u003c/a>,” written by Toronto blues artist Shakura S’Aida and Annika Chambers, a rising blues star from Houston who’s also up for a Blues Music Award in the same category as Odabi. With some 1,300 signatures so far, the petition outlines the music’s deep and abiding roots in African American culture while detailing a series of steps that would help level the playing field for Black women on the blues scene.\u003c/p>\n\u003cp>It’s a broad and deep agenda, covering the history of exploitative recording contracts and non-payment of royalties, the need for blues-centric music education in grade school, and the importance of allyship. In a plea to non-Black colleagues, the petition encourages them to speak out and stand up for Black artists, especially when they see them excluded from lineups. “Labels, agencies, promoters, managers, DJ’s and distributors must make it a priority to ensure that they are representing an equal percentage of Black musicians on their rosters,” the petition reads.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5UAl-yEVJKo\u003c/p>\n\u003cp>If it sounds counterintuitive that Black women are marginalized on the blues scene, Odabi and Chambers both describe numerous conversations with festival promoters who’ve told them there’s no need to book another Black woman because they’ve already got one on the program.\u003c/p>\n\u003cp>“The blues has been hijacked,” Odabi said. “Promoters are quick to tell you that blues is not Black, and it’s not unusual for them to book an all-white blues festival. They glorify the blues artists who are dead, but living Black blues artists get no love.”\u003c/p>\n\u003cp>They’ve focused a good deal of their attention on the Blues Foundation because of its central role in telling the music’s story to the general public and promoting blues artists. After decades of avoiding politics, the organization has taken more forthright stances in recent years, most visibly in March when it \u003ca href=\"https://variety.com/2021/music/news/kenny-wayne-shepherd-confederate-flag-blues-awards-nomination-rescinded-1234933816/\">rescinded Kenny Wayne Shepherd’s\u003c/a> nomination for blues rock artist of the year in response to his use of Confederate flag imagery. (Shepherd responded to the Blues Foundation with a statement that said, “I condemn and stand in complete opposition to all forms of racism and oppression and always have.”) [aside postid='arts_13897503']\u003c/p>\n\u003cp>The foundation, which also produces the talent-promoting International Blues Challenge every January, is now under the direction of Patricia Wilson Aden, who took over as CEO in October after helming the African American Museum in Philadelphia. She has been talking with Annika Chambers about the petition.\u003c/p>\n\u003cp>“We need to listen and respond,” Aden said. “Our statement against racism, which we issued over the summer, provided some guidelines for how we can immediately respond, and in many instances respond very directly to some of the issues in the petition.”\u003c/p>\n\u003cp>Numerous artists with deep Bay Area ties are also up for Blues Music Awards on June 6, including Rick Estrin, Elvin Bishop, Charlie Musselwhite, Chris Cain, drummers June Core and Derrick “D’Mar” Martin, guitarists Christoffer “Kid” Andersen and Laura Chavez, saxophonist Nancy Wright and pianist Jim Pugh.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13897452\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Odabi-CD-Art-800x722.jpg\" alt=\"\" width=\"800\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Odabi-CD-Art-800x722.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Odabi-CD-Art-1020x921.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Odabi-CD-Art-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Odabi-CD-Art-768x693.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Odabi-CD-Art-1536x1386.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Odabi-CD-Art.jpg 1703w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Odabi dedicated herself to the blues after participating in the Blues Music Foundation’s annual International Blues Challenge in Memphis in January 2014. In 2016, she released her debut album, \u003cem>My Blue Soul\u003c/em>, which kicked off with the defiant response to the police being called to quell drum circles at Lake Merritt, “Gentrification Blues.”\u003c/p>\n\u003cp>By the time \u003cem>My Blue Soul \u003c/em>came out, Odabi had been hailed as Bay Area blues royalty by scholar Lee Hildebrand. The region’s foremost chronicler of the blues scene over the past 50 years described her as “easily the most dynamic blues and soul woman to have emerged in the Bay Area since Etta James came out of San Francisco’s Fillmore District in the ’50s.”\u003c/p>\n\u003cp>Generous in sharing her spotlight, Odabi has thrived without the support of a label or management. She’s played a series of sold-out shows at Yoshi’s (including a 2018 concert that introduced Annika Chambers to the Bay Area). She’s performed at European festivals, and has been an essential ingredient in trombonist Steve Turre’s annual celebration of Rahsaan Roland Kirk at San Jose’s Café Stritch. [aside postid='arts_13897650']\u003c/p>\n\u003cp>Odabi knows that speaking out on racial issues has often cost Black artists opportunities (and not just artists, see: Kaepernick, Colin), but she and her Zoom group colleagues are looking at the future.\u003c/p>\n\u003cp>“If anything could come of this it’s a refocus on the importance of the blues and what the music represents,” she said. “We go to Europe and Brazil and all over the world, and the blues is revered and loved. It’s here in the U.S. where we have the lack of recognition and lack of respect.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Despite their enormous contributions, Black women artists are often excluded from lineups. Now, they’re organizing.","status":"publish","parent":0,"modified":1705008303,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1078},"headData":{"title":"Up for a Blues Award, Oakland’s Terrie Odabi Advocates for Black Women in the Genre | KQED","description":"Despite their enormous contributions, Black women artists are often excluded from lineups. Now, they’re organizing.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Up for a Blues Award, Oakland’s Terrie Odabi Advocates for Black Women in the Genre","datePublished":"2021-05-27T21:00:39.000Z","dateModified":"2024-01-11T21:25:03.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13897443/up-for-a-blues-award-oaklands-terrie-odabi-advocates-for-black-women-in-the-genre","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not that Terrie Odabi doesn’t appreciate her nomination for best soul blues female artist in the\u003ca href=\"https://blues.org/blues-music-awards/\"> 42nd annual Blues Music Awards\u003c/a>. The Oakland vocalist loves standing in contention alongside the formidable women who helped pave the way for her, including Bettye LaVette and Dorothy Moore.\u003c/p>\n\u003cp>But when the Memphis-based \u003ca href=\"https://blues.org\">Blues Music Foundation\u003c/a> presents its virtual awards ceremony on June 6, Odabi will keep her focus on a bigger picture. Since the advent of the pandemic, with no gigs or even rehearsals on the horizon, she’s been gathering online weekly with a cadre of women blues artists to talk about the state of the industry. And like much of the country is starting to confront racist legacies in the wake of George Floyd’s murder, Odabi and her peers are pushing for a blues reckoning.\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/NKoPW8cIoiE'\n title='//www.youtube.com/embed/NKoPW8cIoiE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Often overlooked by labels, under-booked by clubs and marginalized by American blues festivals, “Black women find it very difficult to make any headway in the blues scene,” she said. “It’s not a billion dollar industry, but you can make a living. We wanted to do something to try to change it rather than complaining.”\u003c/p>\n\u003cp>The women have organized around the petition “\u003ca href=\"https://www.change.org/p/music-fans-blues-artists-and-fans-against-racism\">Artists, fans, allies for equity and equality in the blues\u003c/a>,” written by Toronto blues artist Shakura S’Aida and Annika Chambers, a rising blues star from Houston who’s also up for a Blues Music Award in the same category as Odabi. With some 1,300 signatures so far, the petition outlines the music’s deep and abiding roots in African American culture while detailing a series of steps that would help level the playing field for Black women on the blues scene.\u003c/p>\n\u003cp>It’s a broad and deep agenda, covering the history of exploitative recording contracts and non-payment of royalties, the need for blues-centric music education in grade school, and the importance of allyship. In a plea to non-Black colleagues, the petition encourages them to speak out and stand up for Black artists, especially when they see them excluded from lineups. “Labels, agencies, promoters, managers, DJ’s and distributors must make it a priority to ensure that they are representing an equal percentage of Black musicians on their rosters,” the petition reads.\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/5UAl-yEVJKo'\n title='//www.youtube.com/embed/5UAl-yEVJKo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If it sounds counterintuitive that Black women are marginalized on the blues scene, Odabi and Chambers both describe numerous conversations with festival promoters who’ve told them there’s no need to book another Black woman because they’ve already got one on the program.\u003c/p>\n\u003cp>“The blues has been hijacked,” Odabi said. “Promoters are quick to tell you that blues is not Black, and it’s not unusual for them to book an all-white blues festival. They glorify the blues artists who are dead, but living Black blues artists get no love.”\u003c/p>\n\u003cp>They’ve focused a good deal of their attention on the Blues Foundation because of its central role in telling the music’s story to the general public and promoting blues artists. After decades of avoiding politics, the organization has taken more forthright stances in recent years, most visibly in March when it \u003ca href=\"https://variety.com/2021/music/news/kenny-wayne-shepherd-confederate-flag-blues-awards-nomination-rescinded-1234933816/\">rescinded Kenny Wayne Shepherd’s\u003c/a> nomination for blues rock artist of the year in response to his use of Confederate flag imagery. (Shepherd responded to the Blues Foundation with a statement that said, “I condemn and stand in complete opposition to all forms of racism and oppression and always have.”) \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13897503","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The foundation, which also produces the talent-promoting International Blues Challenge every January, is now under the direction of Patricia Wilson Aden, who took over as CEO in October after helming the African American Museum in Philadelphia. She has been talking with Annika Chambers about the petition.\u003c/p>\n\u003cp>“We need to listen and respond,” Aden said. “Our statement against racism, which we issued over the summer, provided some guidelines for how we can immediately respond, and in many instances respond very directly to some of the issues in the petition.”\u003c/p>\n\u003cp>Numerous artists with deep Bay Area ties are also up for Blues Music Awards on June 6, including Rick Estrin, Elvin Bishop, Charlie Musselwhite, Chris Cain, drummers June Core and Derrick “D’Mar” Martin, guitarists Christoffer “Kid” Andersen and Laura Chavez, saxophonist Nancy Wright and pianist Jim Pugh.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13897452\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Odabi-CD-Art-800x722.jpg\" alt=\"\" width=\"800\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Odabi-CD-Art-800x722.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Odabi-CD-Art-1020x921.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Odabi-CD-Art-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Odabi-CD-Art-768x693.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Odabi-CD-Art-1536x1386.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Odabi-CD-Art.jpg 1703w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Odabi dedicated herself to the blues after participating in the Blues Music Foundation’s annual International Blues Challenge in Memphis in January 2014. In 2016, she released her debut album, \u003cem>My Blue Soul\u003c/em>, which kicked off with the defiant response to the police being called to quell drum circles at Lake Merritt, “Gentrification Blues.”\u003c/p>\n\u003cp>By the time \u003cem>My Blue Soul \u003c/em>came out, Odabi had been hailed as Bay Area blues royalty by scholar Lee Hildebrand. The region’s foremost chronicler of the blues scene over the past 50 years described her as “easily the most dynamic blues and soul woman to have emerged in the Bay Area since Etta James came out of San Francisco’s Fillmore District in the ’50s.”\u003c/p>\n\u003cp>Generous in sharing her spotlight, Odabi has thrived without the support of a label or management. She’s played a series of sold-out shows at Yoshi’s (including a 2018 concert that introduced Annika Chambers to the Bay Area). She’s performed at European festivals, and has been an essential ingredient in trombonist Steve Turre’s annual celebration of Rahsaan Roland Kirk at San Jose’s Café Stritch. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13897650","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Odabi knows that speaking out on racial issues has often cost Black artists opportunities (and not just artists, see: Kaepernick, Colin), but she and her Zoom group colleagues are looking at the future.\u003c/p>\n\u003cp>“If anything could come of this it’s a refocus on the importance of the blues and what the music represents,” she said. “We go to Europe and Brazil and all over the world, and the blues is revered and loved. It’s here in the U.S. where we have the lack of recognition and lack of respect.”\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>\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":"/arts/13897443/up-for-a-blues-award-oaklands-terrie-odabi-advocates-for-black-women-in-the-genre","authors":["86"],"categories":["arts_1"],"tags":["arts_638","arts_10278"],"featImg":"arts_13897453","label":"arts"},"arts_13892137":{"type":"posts","id":"arts_13892137","meta":{"index":"posts_1591205157","site":"arts","id":"13892137","score":null,"sort":[1612398664000]},"guestAuthors":[],"slug":"faye-carol-celebrates-the-diversity-of-black-music-with-virtual-concerts","title":"Faye Carol Celebrates the Diversity of Black Music with Virtual Concerts","publishDate":1612398664,"format":"standard","headTitle":"Faye Carol Celebrates the Diversity of Black Music with Virtual Concerts | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.fayecarol.com\" target=\"_blank\" rel=\"noopener noreferrer\">The Dynamic Miss Faye Carol\u003c/a> believes that she was put here to sing. And it’s this conviction that’s propelled an independent music career that’s spanned more than six decades.\u003c/p>\n\u003cp>She’s seen enormous triumphs, like when the City of Oakland tapped her to perform for Nelson Mandela after his release from prison. And she’s also had her share of hurdles. In the 1960s, for instance, various government infrastructure projects decimated the Black-owned jazz and blues clubs that were Carol’s bread and butter. She nonetheless found a way forward and became a sought-after live performer who toured with Marvin Gaye.\u003c/p>\n\u003cp>In the ’70s and ’80s, Carol found an audience in the Castro’s cabaret scene, but in the ensuing years the community was hit hard by the AIDS epidemic. She found new ways to thrive again in the ’90s, 2000s and 2010s, performing with the likes of Pharoah Sanders and Ray Charles, recording an album and launching her own music school. Then, in 2020, just as she launched a new concert series at Geoffrey’s Inner Circle, COVID-19 shut everything down. [aside postid='arts_13876143']\u003c/p>\n\u003cp>Still, Carol remains undeterred. She and her pianist, Joe Warner, have kept busy all year with virtual concerts at venues like Piedmont Piano Company and Freight & Salvage, and, thanks to a grant from the Zellerbach Family Foundation, even created their own livestreaming studio complete with a professional camera and sound set-up, Chez Carol.\u003c/p>\n\u003cp>“It’s all just a new frontier, and I’m up for it, and we’ve been having fun doing it,” she says. “As James Brown would say, I have to stay on the good foot. Because other than that, it’s too depressing. If you look at really what’s going on in the world, it’s pretty depressing knowing how many people don’t have their life, and how many families don’t have their loved ones. And art—being such a healer of people—is so away from people.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though she misses interacting in person with her fans—or, as she calls them warmly, her babies—Carol and Warner’s livestreams have been attracting viewers from all over the country and the world, some of whom have even commissioned them to do private virtual concerts in lieu of in-person private parties. In celebration of Black History Month, Carol has an upcoming online concert program that showcases one of the things she does best: connecting the threads between various forms of Black music and celebrating the diaspora’s diverse forms of creativity.\u003c/p>\n\u003cp>“This is one thing that’s dear to me because I think all of the music should be united. In our world, everything is really polarized,” she says. “You have young people’s music, you have the old people’s music. You have cool jazz, soul jazz, hip-hop, R&B, country—labels. And to me, it’s all music. And one time in Black music history it was just like that, it was one big thing.”\u003c/p>\n\u003cp>On Feb. 4, Carol and Warner are doing a livestream from Geoffrey’s Inner Circle for Oakland public school students with Mistah F.A.B., the rapper, philanthropist, Dope Era Clothing owner, author and “\u003ca href=\"https://www.youtube.com/watch?v=J377tHOtrW4&ab_channel=MistahF.A.B.-Topic\" target=\"_blank\" rel=\"noopener noreferrer\">freestyle king of the O\u003c/a>” who has an uncanny ability to rhyme from off the top of his head for miles. They’ll be joined by drummer Aaron Green and bassist James Wiley; the project is backed by the City of Oakland’s Cultural Funding Program. Carol and Warner perform for Berkeley public school students on Feb. 25 with a concert titled Black Music Through the Ages. The show with Mistah F.A.B. will stream again for the general public on Carol’s \u003ca href=\"https://www.facebook.com/TheDynamicMiss\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook page\u003c/a> on Feb. 27. [aside postid='arts_13891939']\u003c/p>\n\u003cp>On Valentine’s Day, Carol and Warner will be streaming from Chez Carol as the Dynamic Duo. “I like to say, for lovers and others. Valentine’s Day is just an excuse to sing some more good songs. And if you have somebody to cuddle up with, all the better,” Carol says.\u003c/p>\n\u003cp>As much as all of us miss in-person concerts right now, Carol looks at the bright side, and says that her busy schedule of livestreaming is challenging her to stay creative and keep developing new material.\u003c/p>\n\u003cp>“I don’t see nothin’ short of you burying me that’s going to keep me from doing this,” she says with a twinkle in her eye. “So, hey, let the good times roll—we’re doing it. If it’s streaming that’s happening, let the streaming begin.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Faye Carol’s complete upcoming concert schedule can be found \u003ca href=\"https://www.fayecarol.com/bio--photo\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Her career as a live musician has thrived for six decades. A pandemic isn’t stopping her. ","status":"publish","parent":0,"modified":1705019544,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":847},"headData":{"title":"Faye Carol Celebrates the Diversity of Black Music with Virtual Concerts | KQED","description":"Her career as a live musician has thrived for six decades. A pandemic isn’t stopping her. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Faye Carol Celebrates the Diversity of Black Music with Virtual Concerts","datePublished":"2021-02-04T00:31:04.000Z","dateModified":"2024-01-12T00:32:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13892137/faye-carol-celebrates-the-diversity-of-black-music-with-virtual-concerts","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.fayecarol.com\" target=\"_blank\" rel=\"noopener noreferrer\">The Dynamic Miss Faye Carol\u003c/a> believes that she was put here to sing. And it’s this conviction that’s propelled an independent music career that’s spanned more than six decades.\u003c/p>\n\u003cp>She’s seen enormous triumphs, like when the City of Oakland tapped her to perform for Nelson Mandela after his release from prison. And she’s also had her share of hurdles. In the 1960s, for instance, various government infrastructure projects decimated the Black-owned jazz and blues clubs that were Carol’s bread and butter. She nonetheless found a way forward and became a sought-after live performer who toured with Marvin Gaye.\u003c/p>\n\u003cp>In the ’70s and ’80s, Carol found an audience in the Castro’s cabaret scene, but in the ensuing years the community was hit hard by the AIDS epidemic. She found new ways to thrive again in the ’90s, 2000s and 2010s, performing with the likes of Pharoah Sanders and Ray Charles, recording an album and launching her own music school. Then, in 2020, just as she launched a new concert series at Geoffrey’s Inner Circle, COVID-19 shut everything down. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13876143","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, Carol remains undeterred. She and her pianist, Joe Warner, have kept busy all year with virtual concerts at venues like Piedmont Piano Company and Freight & Salvage, and, thanks to a grant from the Zellerbach Family Foundation, even created their own livestreaming studio complete with a professional camera and sound set-up, Chez Carol.\u003c/p>\n\u003cp>“It’s all just a new frontier, and I’m up for it, and we’ve been having fun doing it,” she says. “As James Brown would say, I have to stay on the good foot. Because other than that, it’s too depressing. If you look at really what’s going on in the world, it’s pretty depressing knowing how many people don’t have their life, and how many families don’t have their loved ones. And art—being such a healer of people—is so away from people.”\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>Though she misses interacting in person with her fans—or, as she calls them warmly, her babies—Carol and Warner’s livestreams have been attracting viewers from all over the country and the world, some of whom have even commissioned them to do private virtual concerts in lieu of in-person private parties. In celebration of Black History Month, Carol has an upcoming online concert program that showcases one of the things she does best: connecting the threads between various forms of Black music and celebrating the diaspora’s diverse forms of creativity.\u003c/p>\n\u003cp>“This is one thing that’s dear to me because I think all of the music should be united. In our world, everything is really polarized,” she says. “You have young people’s music, you have the old people’s music. You have cool jazz, soul jazz, hip-hop, R&B, country—labels. And to me, it’s all music. And one time in Black music history it was just like that, it was one big thing.”\u003c/p>\n\u003cp>On Feb. 4, Carol and Warner are doing a livestream from Geoffrey’s Inner Circle for Oakland public school students with Mistah F.A.B., the rapper, philanthropist, Dope Era Clothing owner, author and “\u003ca href=\"https://www.youtube.com/watch?v=J377tHOtrW4&ab_channel=MistahF.A.B.-Topic\" target=\"_blank\" rel=\"noopener noreferrer\">freestyle king of the O\u003c/a>” who has an uncanny ability to rhyme from off the top of his head for miles. They’ll be joined by drummer Aaron Green and bassist James Wiley; the project is backed by the City of Oakland’s Cultural Funding Program. Carol and Warner perform for Berkeley public school students on Feb. 25 with a concert titled Black Music Through the Ages. The show with Mistah F.A.B. will stream again for the general public on Carol’s \u003ca href=\"https://www.facebook.com/TheDynamicMiss\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook page\u003c/a> on Feb. 27. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13891939","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Valentine’s Day, Carol and Warner will be streaming from Chez Carol as the Dynamic Duo. “I like to say, for lovers and others. Valentine’s Day is just an excuse to sing some more good songs. And if you have somebody to cuddle up with, all the better,” Carol says.\u003c/p>\n\u003cp>As much as all of us miss in-person concerts right now, Carol looks at the bright side, and says that her busy schedule of livestreaming is challenging her to stay creative and keep developing new material.\u003c/p>\n\u003cp>“I don’t see nothin’ short of you burying me that’s going to keep me from doing this,” she says with a twinkle in her eye. “So, hey, let the good times roll—we’re doing it. If it’s streaming that’s happening, let the streaming begin.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Faye Carol’s complete upcoming concert schedule can be found \u003ca href=\"https://www.fayecarol.com/bio--photo\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13892137/faye-carol-celebrates-the-diversity-of-black-music-with-virtual-concerts","authors":["11387"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_4096","arts_638","arts_10278","arts_13352","arts_585","arts_699"],"featImg":"arts_13892175","label":"arts_140"},"arts_13876143":{"type":"posts","id":"arts_13876143","meta":{"index":"posts_1591205157","site":"arts","id":"13876143","score":null,"sort":[1583798646000]},"guestAuthors":[],"slug":"the-dynamic-miss-faye-carol-is-the-east-bays-hardest-working-live-musician","title":"The Dynamic Miss Faye Carol is the East Bay's Hardest-Working Live Musician","publishDate":1583798646,"format":"standard","headTitle":"The Dynamic Miss Faye Carol is the East Bay’s Hardest-Working Live Musician | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Active since the 1960s, the \u003ca href=\"https://www.fayecarol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dynamic Miss Faye Carol\u003c/a> is arguably the hardest-working live musician in the East Bay.\u003c/p>\n\u003cp>On a recent afternoon, we meet at \u003ca href=\"http://geoffreyslive.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Geoffrey’s Inner Circle\u003c/a> in Oakland, where she’s hosting weekly concerts throughout March that draw links between her jazz repertoire and blues, Latin jazz and even hip-hop, with collaborators such as percussionist Pete Escovedo, veteran bluesman Bobby Rush and rapper Mistah F.A.B. Dubbed \u003ca href=\"https://www.fayecarol.com/bio--photo\" target=\"_blank\" rel=\"noopener noreferrer\">Faye Carol & the Folks\u003c/a>, the program is just part of Carol’s 24/7, 365-day-a-year grind of rehearsing, promoting, performing and teaching—a grind she’s maintained for the last six decades.\u003c/p>\n\u003cp>“I do my own everything,” Carol tells me in her honeyed, resounding voice, and that includes her manicures. When we meet for our interview, she takes a seat on a regal, velvet chair in Geoffrey’s emerald-green hall, and pulls out a bottle of light pink nail polish to touch up an impressively lengthy fingernail on her ornately bejeweled hand.\u003c/p>\n\u003cp>In connecting jazz with the blues and hip-hop, Carol seeks to show the common black roots of American popular music. Her husband, the late scholar Jim Gamble, who was also her manager and musical director, taught a class at UC Berkeley called the Black History of Music. Early on in her career, Carol audited the course on a weekly basis, and it opened her eyes to the ways the African diaspora’s creative innovations have shaped virtually all popular genres.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think of it as black music coming from that source, and then there are many flavors—just like if you cookin’,” she says. “Do you want to put some oregano in something, or do you wanna put some cayenne? It’s different flavors, different expressions coming from different parts of the country, different creative beings. They create differently, they hear differently. We are not a monolith.”\u003c/span>\u003c/p>\n\u003ch2>The Aftermath of the Harlem of the West\u003c/h2>\n\u003cp>If there’s one word to describe Faye Carol, it’s resilient. As a young girl, she moved to the East Bay town of Pittsburg from the segregated South. As a young adult in the 1960s, she was making a name for herself as a soul singer in West Oakland’s clubs, and even toured with Marvin Gaye.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The music in the hood was so rich,” she says of West Oakland’s musical legacy. After World War II, the neighborhood, along with San Francisco’s historically black Fillmore district, was referred to as the Harlem of the West. That era came to a close after hundreds of black-owned homes and businesses were destroyed to make room for the post office, BART and the interstate freeway system. By the mid 1960s, the bustle of 7th Street’s nightlife district dwindled. [aside postid='arts_13809453']\u003c/p>\n\u003cp>This turbulent history deeply impacted Carol. So her choice to present Faye Carol & the Folks at Geoffrey’s, one of the last standing black-owned clubs in Oakland, was an intentional one. As she explains it, world-class jazz musicians\u003cspan style=\"font-weight: 400\"> “come to Yoshi’s or they come to SFJAZZ—which is fine, nothing wrong with that, I want them to continue to go to those places. But let’s add this place also. We don’t want to leave it out because it’s a viable, beautiful, wonderful, should-be-treasured place.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Over time, you see [the music has] been dissipated out of the hood,” she laments, “to the point where we don’t have our own music in our own neighborhoods anymore.”\u003c/span>\u003c/p>\n\u003ch2>Reinvention in the Age of the AIDS Crisis\u003c/h2>\n\u003cp>In the 1970s, after the majority of West Oakland’s black clubs shut down, Carol’s love for the music continued to buoy her. She persisted and found a new niche: singing cabaret for the burgeoning gay community in the Castro, who, like her, were big fans of musical theater and show tunes. In the Castro, she gossiped on her breaks with trailblazing disco star Sylvester (of “\u003ca href=\"https://www.youtube.com/watch?v=VyAHULpMXKQ\" target=\"_blank\" rel=\"noopener noreferrer\">You Make Me Feel (Mighty Real\u003c/a>” fame), and established herself in a new scene. [aside postid=\"arts_13854644\"]\u003c/p>\n\u003cp>“I loved that so much, these was my babies,” she says. “They lived hard, they played hard, they worked hard and they enjoyed the finer things in life.”\u003c/p>\n\u003cp>But Carol’s new audience was hit by tragedy yet again—this time by the AIDS epidemic. “That’s still devastating to me,” she says. “It wiped—I’m telling you, girlfriend—it wiped \u003cem>everybody\u003c/em> out. All the people who owned the clubs, all the bartenders, all the waitresses, the people who came to the clubs. Everybody was just falling, falling, falling.” [aside postid='arts_13859408']\u003c/p>\n\u003cp>Yet, once again, Carol continued to persevere and adapt. In the ’80s, she performed with avant-garde saxophonist Pharoah Sanders and soul legend Ray Charles. In 1990, the City of Oakland chose her to sing for Nelson Mandela during a visit following his release from a 27-year sentence as a political prisoner. That decade, Carol deepened her collaboration with her daughter, pianist Kito Gamble (who joins the Faye Carol & the Folks bill on March 29), and the mother and daughter released an album together in 1996.\u003c/p>\n\u003cfigure id=\"attachment_13876264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/IMG_4781-800x450.jpg\" alt=\"The Dynamic Miss Faye Carol and pianist Joe Warner.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dynamic Miss Faye Carol and pianist Joe Warner. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Passing Musical Traditions to the Next Generation\u003c/h2>\n\u003cp>These days, Carol performs regularly around the East Bay at concert halls and private parties alike with a variety of ensembles. She also teaches singing in private lessons and at her \u003ca href=\"https://www.fayecarol.com/copy-of-school-of-the-getdown\" target=\"_blank\" rel=\"noopener noreferrer\">School of the Getdown\u003c/a>. In all of her projects, a constant is her pianist of nearly a decade, Joe Warner. Warner, a 27-year-old originally from the East Bay town of Martinez, first saw Carol perform when he was only 13 years old after his music teacher, saxophonist Howard Wiley (another Faye Carol protégé), brought him to Yoshi’s.\u003c/p>\n\u003cp>For Carol, the collaboration with Warner was unexpected given their ages and cultural differences. “I thought, how the hell am I gonna be with some white guy from Martinez?” she jokes, giving Warner a sly look. “But you know, with some people you just gel, and that’s the way we do.”\u003c/p>\n\u003cp>“She’s the holder of a lot of traditions that are no longer here or not as prevalent as they used to be,” says Warner with reverence. “It’s really unique and remarkable for an artist to be able to do all the different things she can—she can really sing gospel, she can really sing the blues, she’s really a jazz singer, she can scat. She knows about R&B and hip-hop and can adapt herself to that. And to put it all into really unique sound—you don’t really see anybody do that.”\u003c/p>\n\u003cp>Indeed, it’s that adaptability and embrace of younger generations that’s given Carol’s career its longevity—a longevity that sometimes even surprises the singer herself.\u003c/p>\n\u003cp>Her secret?\u003c/p>\n\u003cp>“Well, I’m pretty stubborn. I think it’s my right to do this—when you’re born you have certain inalienable rights,” she says. “When you’re not doing anything to harm anybody or to harm yourself, then you should have the right to do it. And I just fight to do it. That’s about what it is in a nutshell.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Faye Carol & the Folks takes place at Geoffrey’s Inner Circle on Sundays through March 29. The March 15 concert features Pete Escovedo, John Santos, Carolyn Brandy, and Jesus Diaz. On March 22, she performs with Mistah F.A.B., and on March 29, she performs with Bobby Rush and Kito Kamili. \u003ca href=\"https://www.fayecarol.com/bio--photo\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The singer reflects on a career that's survived six decades of turbulent history, and her multi-genre residency at Geoffrey's Inner Circle. ","status":"publish","parent":0,"modified":1705021134,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1369},"headData":{"title":"The Dynamic Miss Faye Carol is the East Bay's Hardest-Working Live Musician | KQED","description":"The singer reflects on a career that's survived six decades of turbulent history, and her multi-genre residency at Geoffrey's Inner Circle. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Dynamic Miss Faye Carol is the East Bay's Hardest-Working Live Musician","datePublished":"2020-03-10T00:04:06.000Z","dateModified":"2024-01-12T00:58:54.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13876143/the-dynamic-miss-faye-carol-is-the-east-bays-hardest-working-live-musician","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Active since the 1960s, the \u003ca href=\"https://www.fayecarol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dynamic Miss Faye Carol\u003c/a> is arguably the hardest-working live musician in the East Bay.\u003c/p>\n\u003cp>On a recent afternoon, we meet at \u003ca href=\"http://geoffreyslive.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Geoffrey’s Inner Circle\u003c/a> in Oakland, where she’s hosting weekly concerts throughout March that draw links between her jazz repertoire and blues, Latin jazz and even hip-hop, with collaborators such as percussionist Pete Escovedo, veteran bluesman Bobby Rush and rapper Mistah F.A.B. Dubbed \u003ca href=\"https://www.fayecarol.com/bio--photo\" target=\"_blank\" rel=\"noopener noreferrer\">Faye Carol & the Folks\u003c/a>, the program is just part of Carol’s 24/7, 365-day-a-year grind of rehearsing, promoting, performing and teaching—a grind she’s maintained for the last six decades.\u003c/p>\n\u003cp>“I do my own everything,” Carol tells me in her honeyed, resounding voice, and that includes her manicures. When we meet for our interview, she takes a seat on a regal, velvet chair in Geoffrey’s emerald-green hall, and pulls out a bottle of light pink nail polish to touch up an impressively lengthy fingernail on her ornately bejeweled hand.\u003c/p>\n\u003cp>In connecting jazz with the blues and hip-hop, Carol seeks to show the common black roots of American popular music. Her husband, the late scholar Jim Gamble, who was also her manager and musical director, taught a class at UC Berkeley called the Black History of Music. Early on in her career, Carol audited the course on a weekly basis, and it opened her eyes to the ways the African diaspora’s creative innovations have shaped virtually all popular genres.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think of it as black music coming from that source, and then there are many flavors—just like if you cookin’,” she says. “Do you want to put some oregano in something, or do you wanna put some cayenne? It’s different flavors, different expressions coming from different parts of the country, different creative beings. They create differently, they hear differently. We are not a monolith.”\u003c/span>\u003c/p>\n\u003ch2>The Aftermath of the Harlem of the West\u003c/h2>\n\u003cp>If there’s one word to describe Faye Carol, it’s resilient. As a young girl, she moved to the East Bay town of Pittsburg from the segregated South. As a young adult in the 1960s, she was making a name for herself as a soul singer in West Oakland’s clubs, and even toured with Marvin Gaye.\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 music in the hood was so rich,” she says of West Oakland’s musical legacy. After World War II, the neighborhood, along with San Francisco’s historically black Fillmore district, was referred to as the Harlem of the West. That era came to a close after hundreds of black-owned homes and businesses were destroyed to make room for the post office, BART and the interstate freeway system. By the mid 1960s, the bustle of 7th Street’s nightlife district dwindled. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13809453","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This turbulent history deeply impacted Carol. So her choice to present Faye Carol & the Folks at Geoffrey’s, one of the last standing black-owned clubs in Oakland, was an intentional one. As she explains it, world-class jazz musicians\u003cspan style=\"font-weight: 400\"> “come to Yoshi’s or they come to SFJAZZ—which is fine, nothing wrong with that, I want them to continue to go to those places. But let’s add this place also. We don’t want to leave it out because it’s a viable, beautiful, wonderful, should-be-treasured place.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Over time, you see [the music has] been dissipated out of the hood,” she laments, “to the point where we don’t have our own music in our own neighborhoods anymore.”\u003c/span>\u003c/p>\n\u003ch2>Reinvention in the Age of the AIDS Crisis\u003c/h2>\n\u003cp>In the 1970s, after the majority of West Oakland’s black clubs shut down, Carol’s love for the music continued to buoy her. She persisted and found a new niche: singing cabaret for the burgeoning gay community in the Castro, who, like her, were big fans of musical theater and show tunes. In the Castro, she gossiped on her breaks with trailblazing disco star Sylvester (of “\u003ca href=\"https://www.youtube.com/watch?v=VyAHULpMXKQ\" target=\"_blank\" rel=\"noopener noreferrer\">You Make Me Feel (Mighty Real\u003c/a>” fame), and established herself in a new scene. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13854644","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I loved that so much, these was my babies,” she says. “They lived hard, they played hard, they worked hard and they enjoyed the finer things in life.”\u003c/p>\n\u003cp>But Carol’s new audience was hit by tragedy yet again—this time by the AIDS epidemic. “That’s still devastating to me,” she says. “It wiped—I’m telling you, girlfriend—it wiped \u003cem>everybody\u003c/em> out. All the people who owned the clubs, all the bartenders, all the waitresses, the people who came to the clubs. Everybody was just falling, falling, falling.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13859408","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet, once again, Carol continued to persevere and adapt. In the ’80s, she performed with avant-garde saxophonist Pharoah Sanders and soul legend Ray Charles. In 1990, the City of Oakland chose her to sing for Nelson Mandela during a visit following his release from a 27-year sentence as a political prisoner. That decade, Carol deepened her collaboration with her daughter, pianist Kito Gamble (who joins the Faye Carol & the Folks bill on March 29), and the mother and daughter released an album together in 1996.\u003c/p>\n\u003cfigure id=\"attachment_13876264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/IMG_4781-800x450.jpg\" alt=\"The Dynamic Miss Faye Carol and pianist Joe Warner.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dynamic Miss Faye Carol and pianist Joe Warner. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Passing Musical Traditions to the Next Generation\u003c/h2>\n\u003cp>These days, Carol performs regularly around the East Bay at concert halls and private parties alike with a variety of ensembles. She also teaches singing in private lessons and at her \u003ca href=\"https://www.fayecarol.com/copy-of-school-of-the-getdown\" target=\"_blank\" rel=\"noopener noreferrer\">School of the Getdown\u003c/a>. In all of her projects, a constant is her pianist of nearly a decade, Joe Warner. Warner, a 27-year-old originally from the East Bay town of Martinez, first saw Carol perform when he was only 13 years old after his music teacher, saxophonist Howard Wiley (another Faye Carol protégé), brought him to Yoshi’s.\u003c/p>\n\u003cp>For Carol, the collaboration with Warner was unexpected given their ages and cultural differences. “I thought, how the hell am I gonna be with some white guy from Martinez?” she jokes, giving Warner a sly look. “But you know, with some people you just gel, and that’s the way we do.”\u003c/p>\n\u003cp>“She’s the holder of a lot of traditions that are no longer here or not as prevalent as they used to be,” says Warner with reverence. “It’s really unique and remarkable for an artist to be able to do all the different things she can—she can really sing gospel, she can really sing the blues, she’s really a jazz singer, she can scat. She knows about R&B and hip-hop and can adapt herself to that. And to put it all into really unique sound—you don’t really see anybody do that.”\u003c/p>\n\u003cp>Indeed, it’s that adaptability and embrace of younger generations that’s given Carol’s career its longevity—a longevity that sometimes even surprises the singer herself.\u003c/p>\n\u003cp>Her secret?\u003c/p>\n\u003cp>“Well, I’m pretty stubborn. I think it’s my right to do this—when you’re born you have certain inalienable rights,” she says. “When you’re not doing anything to harm anybody or to harm yourself, then you should have the right to do it. And I just fight to do it. That’s about what it is in a nutshell.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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>Faye Carol & the Folks takes place at Geoffrey’s Inner Circle on Sundays through March 29. The March 15 concert features Pete Escovedo, John Santos, Carolyn Brandy, and Jesus Diaz. On March 22, she performs with Mistah F.A.B., and on March 29, she performs with Bobby Rush and Kito Kamili. \u003ca href=\"https://www.fayecarol.com/bio--photo\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13876143/the-dynamic-miss-faye-carol-is-the-east-bays-hardest-working-live-musician","authors":["11387"],"categories":["arts_69","arts_235"],"tags":["arts_638","arts_1118","arts_1420"],"featImg":"arts_13876265","label":"arts"},"arts_13863049":{"type":"posts","id":"arts_13863049","meta":{"index":"posts_1591205157","site":"arts","id":"13863049","score":null,"sort":[1565097343000]},"guestAuthors":[],"slug":"san-jose-jazz-summer-fest-in-the-pocket-at-30","title":"San Jose Jazz Summer Fest: In the Pocket at 30","publishDate":1565097343,"format":"audio","headTitle":"San Jose Jazz Summer Fest: In the Pocket at 30 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>This weekend, an estimated 40,000 people will descend on downtown San Jose for the 30th anniversary of the \u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Summer Fest\u003c/a>. (And yes, extra security is expected.)\u003c/p>\n\u003cp>As you might expect, the original ambition was decidedly more modest in 1990. So says Artistic & Festival Director Bruce Labadie, there at the creation: “We decided to have it free and outdoors and, basically, was going to be made successful by selling beer.”\u003c/p>\n\u003cp>Of course, a few sponsorship deals helped, as did careful selection of eight headliners, including Bobby Hutcherson, Freddie Hubbard, and Poncho Sánchez. “10,000 people showed up over two days. It was amazing. So we knew it was going to be successful from the beginning.”\u003c/p>\n\u003cp>30 years later, the Summer Fest is much bigger: 14 stages instead of two, 150 acts, or so, instead of eight. But also, the organization itself is much bigger than its annual summer fest.\u003c/p>\n\u003cp>“There’s really nothing else like it in the Bay Area,” says jazz writer Andy Gilbert, who’s covered the organization for KQED over many years. “This takes over downtown San Jose, around the Plaza de Cesar Chavez. You’ve got outdoor stages. It’s a huge street party, with fantastic music.”\u003c/p>\n\u003cfigure id=\"attachment_13863066\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut.jpg\" alt=\"Dee Dee Bridgewater headlined the 2001 San Jose Jazz Summer Fest.\" width=\"1600\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-1200x896.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Dee Dee Bridgewater headlined the 2001 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Andy Nozaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re also active year round. We do a couple hundred performances throughout all of San Jose throughout the year. We also do a Winter Fest and then we’re active in a lot of San Jose schools with different music education programs,” said Executive Director Brendan Rawson.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Marketing Director Massimo Chisessi adds, “San Jose Jazz has nurtured a local ecology of musicians here, through jams year-round. We also bring them work, gigs at local restaurants. One of the results is there’s a lot more interest now in live music (in downtown San Jose) than there was 30 years ago.”\u003c/p>\n\u003cp>[aside postID='arts_13857655,arts_13804037,arts_10885260' label='More San Jose Jazz']Rawson estimates half of the Summer Fest’s audience is local to Silicon Valley. The other half is split between the greater Bay Area and the world beyond, stretching as far afield as Los Angeles, Chicago and Atlanta.\u003c/p>\n\u003cp>Full disclosure: I grew up in a family full of talented jazz composers, and I love jazz. But like a lot of musical traditions, jazz’s audience is growing frailer and paler, and it’s dropped off the radio dial in many cities.\u003c/p>\n\u003cp>So I had to ask, how has San Jose Jazz survived and thrived? Short answer: like most jazz festivals, with a definition of jazz much more expansive than what insiders call “straight-ahead.” That, along with smooth jazz, makes up only 20 percent of what’s on the roster of San Jose Jazz today. The rest represents gospel, blues, funk, soul, hip hop, R&B, and of course, lots of salsa.\u003c/p>\n\u003cfigure id=\"attachment_13863068\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863068\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut.jpg\" alt=\"Trombone Shorty and Orleans Avenue during the 2011 San Jose Jazz Summer Fest.\" width=\"1920\" height=\"1272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-1200x795.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Trombone Shorty and Orleans Avenue during the 2011 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Bruce Fram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s nothing like seeing a band live onstage, because it’s infectious, it’s contagious, it’s … it’s music that you want to dance to!” said Betto Arcos of KPCC in Los Angeles, one of a host of curators who bring specialized rolodexes with them, along with bigger, broader audiences from the Bay Area and beyond.\u003c/p>\n\u003cp>“This year we’re bringing a band from Columbia (\u003ca href=\"http://www.la-33.com\" target=\"_blank\" rel=\"noopener\">Orquesta La 33\u003c/a>). This is like the top salsa band from Colombia has come into perform to the Jazz Fest,” Arcos adds.\u003c/p>\n\u003cp>Gilbert says San Jose Jazz’s commitment to Latin music has been genuine since the beginning. “Showing how that is woven in to the fabric of jazz. This year is no different.”\u003c/p>\n\u003cp>Labadie say the audiences who come to San Jose Jazz come with big, broad musical appetites, keen to take in the unfamiliar and cheer on the young and the local. Why not, when about 40 percent of music is free?\u003c/p>\n\u003ch2>Jazz is roots music\u003c/h2>\n\u003cp>“There’s a lot of these young artists that come of age in a hip hop generation, but they’re incredibly well-trained jazz artists, and you’re seeing them sort of in sort of informing and shaping a lot of popular music today,” Rawson says.\u003c/p>\n\u003cp>It’s fair to say San Jose Jazz has helped to “inform and shape” by giving an early chance to musicians coming up. Labadie has a lot of stories along these lines…\u003c/p>\n\u003cfigure id=\"attachment_13863069\" class=\"wp-caption aligncenter\" style=\"max-width: 1543px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863069\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut.jpg\" alt=\"John Santos with the Machete Ensemble at the 2002 San Jose Jazz Summer Fest.\" width=\"1543\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut.jpg 1543w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-1200x933.jpg 1200w\" sizes=\"(max-width: 1543px) 100vw, 1543px\">\u003cfigcaption class=\"wp-caption-text\">John Santos with the Machete Ensemble at the 2002 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Andy Nozaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Years ago, we had the \u003ca href=\"https://www.lulawashington.org\" target=\"_blank\" rel=\"noopener\">Lulu Washington Dance Company\u003c/a>, and the guy that promotes it, the husband of Lulu Washington, said, ‘Oh, my nephew is really a good player!’ I go, ‘Okay, whatever.’ Then I open \u003cem>Rolling Stone\u003c/em> and there he was. \u003ca href=\"https://www.kamasiwashington.com\" target=\"_blank\" rel=\"noopener\">Kamasi Washington\u003c/a>. He didn’t have an agent. We paid him a little bit of money, and then he was charging $50,000 right after that.”\u003c/p>\n\u003cp>“Same with Trombone Shorty, who we found. You know, played at the main stage, and became unaffordable a couple of years after we had him.”\u003c/p>\n\u003cp>Like anybody else, the organizers are partial to headliners. Rawson’s favorite? “I’m really excited that we’re having \u003ca href=\"http://diannereeves.com\" target=\"_blank\" rel=\"noopener\">Dianne Reeves\u003c/a> back. She was named an \u003ca href=\"https://www.arts.gov/honors/jazz/dianne-reeves\" target=\"_blank\" rel=\"noopener\">NEA Jazz Master\u003c/a> last year. She was with us in our second year of the festival. She’s this will be her fourth time appearing with us, and it’s always there’s really a sense of almost homecoming for a lot of our folks that come each year, and she’s just outstanding.”\u003c/p>\n\u003cp>San Jose Jazz doesn’t typically have performance recording rights. The local radio station \u003ca href=\"https://www.kcsm.org\" target=\"_blank\" rel=\"noopener\">KCSM\u003c/a> broadcasts some of the music live, and they do run a highlight show the following spring. There’s also some live streaming. But generally, you have to be in San Jose to experience Summer Fest in all its multi-faceted, musical glory.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003cstrong>San Jose Jazz Summer Fest\u003c/strong> runs August 9-11, 2019. For more information, click \u003ca href=\"https://summerfest.sanjosejazz.org/artists/7th-street-big-band\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"How the venerable South Bay institution San Jose Jazz got from 1990 to today.","status":"publish","parent":0,"modified":1705022401,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1094},"headData":{"title":"San Jose Jazz Summer Fest: In the Pocket at 30 | KQED","description":"How the venerable South Bay institution San Jose Jazz got from 1990 to today.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"San Jose Jazz Summer Fest: In the Pocket at 30","datePublished":"2019-08-06T13:15:43.000Z","dateModified":"2024-01-12T01:20:01.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2019/08/MyrowSanJoseJazz.mp3","sticky":false,"audioTrackLength":283,"path":"/arts/13863049/san-jose-jazz-summer-fest-in-the-pocket-at-30","audioDuration":283000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>This weekend, an estimated 40,000 people will descend on downtown San Jose for the 30th anniversary of the \u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Summer Fest\u003c/a>. (And yes, extra security is expected.)\u003c/p>\n\u003cp>As you might expect, the original ambition was decidedly more modest in 1990. So says Artistic & Festival Director Bruce Labadie, there at the creation: “We decided to have it free and outdoors and, basically, was going to be made successful by selling beer.”\u003c/p>\n\u003cp>Of course, a few sponsorship deals helped, as did careful selection of eight headliners, including Bobby Hutcherson, Freddie Hubbard, and Poncho Sánchez. “10,000 people showed up over two days. It was amazing. So we knew it was going to be successful from the beginning.”\u003c/p>\n\u003cp>30 years later, the Summer Fest is much bigger: 14 stages instead of two, 150 acts, or so, instead of eight. But also, the organization itself is much bigger than its annual summer fest.\u003c/p>\n\u003cp>“There’s really nothing else like it in the Bay Area,” says jazz writer Andy Gilbert, who’s covered the organization for KQED over many years. “This takes over downtown San Jose, around the Plaza de Cesar Chavez. You’ve got outdoor stages. It’s a huge street party, with fantastic music.”\u003c/p>\n\u003cfigure id=\"attachment_13863066\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut.jpg\" alt=\"Dee Dee Bridgewater headlined the 2001 San Jose Jazz Summer Fest.\" width=\"1600\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-1200x896.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Dee Dee Bridgewater headlined the 2001 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Andy Nozaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re also active year round. We do a couple hundred performances throughout all of San Jose throughout the year. We also do a Winter Fest and then we’re active in a lot of San Jose schools with different music education programs,” said Executive Director Brendan Rawson.\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>Marketing Director Massimo Chisessi adds, “San Jose Jazz has nurtured a local ecology of musicians here, through jams year-round. We also bring them work, gigs at local restaurants. One of the results is there’s a lot more interest now in live music (in downtown San Jose) than there was 30 years ago.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13857655,arts_13804037,arts_10885260","label":"More San Jose Jazz "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Rawson estimates half of the Summer Fest’s audience is local to Silicon Valley. The other half is split between the greater Bay Area and the world beyond, stretching as far afield as Los Angeles, Chicago and Atlanta.\u003c/p>\n\u003cp>Full disclosure: I grew up in a family full of talented jazz composers, and I love jazz. But like a lot of musical traditions, jazz’s audience is growing frailer and paler, and it’s dropped off the radio dial in many cities.\u003c/p>\n\u003cp>So I had to ask, how has San Jose Jazz survived and thrived? Short answer: like most jazz festivals, with a definition of jazz much more expansive than what insiders call “straight-ahead.” That, along with smooth jazz, makes up only 20 percent of what’s on the roster of San Jose Jazz today. The rest represents gospel, blues, funk, soul, hip hop, R&B, and of course, lots of salsa.\u003c/p>\n\u003cfigure id=\"attachment_13863068\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863068\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut.jpg\" alt=\"Trombone Shorty and Orleans Avenue during the 2011 San Jose Jazz Summer Fest.\" width=\"1920\" height=\"1272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-1200x795.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Trombone Shorty and Orleans Avenue during the 2011 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Bruce Fram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s nothing like seeing a band live onstage, because it’s infectious, it’s contagious, it’s … it’s music that you want to dance to!” said Betto Arcos of KPCC in Los Angeles, one of a host of curators who bring specialized rolodexes with them, along with bigger, broader audiences from the Bay Area and beyond.\u003c/p>\n\u003cp>“This year we’re bringing a band from Columbia (\u003ca href=\"http://www.la-33.com\" target=\"_blank\" rel=\"noopener\">Orquesta La 33\u003c/a>). This is like the top salsa band from Colombia has come into perform to the Jazz Fest,” Arcos adds.\u003c/p>\n\u003cp>Gilbert says San Jose Jazz’s commitment to Latin music has been genuine since the beginning. “Showing how that is woven in to the fabric of jazz. This year is no different.”\u003c/p>\n\u003cp>Labadie say the audiences who come to San Jose Jazz come with big, broad musical appetites, keen to take in the unfamiliar and cheer on the young and the local. Why not, when about 40 percent of music is free?\u003c/p>\n\u003ch2>Jazz is roots music\u003c/h2>\n\u003cp>“There’s a lot of these young artists that come of age in a hip hop generation, but they’re incredibly well-trained jazz artists, and you’re seeing them sort of in sort of informing and shaping a lot of popular music today,” Rawson says.\u003c/p>\n\u003cp>It’s fair to say San Jose Jazz has helped to “inform and shape” by giving an early chance to musicians coming up. Labadie has a lot of stories along these lines…\u003c/p>\n\u003cfigure id=\"attachment_13863069\" class=\"wp-caption aligncenter\" style=\"max-width: 1543px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863069\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut.jpg\" alt=\"John Santos with the Machete Ensemble at the 2002 San Jose Jazz Summer Fest.\" width=\"1543\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut.jpg 1543w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-1200x933.jpg 1200w\" sizes=\"(max-width: 1543px) 100vw, 1543px\">\u003cfigcaption class=\"wp-caption-text\">John Santos with the Machete Ensemble at the 2002 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Andy Nozaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Years ago, we had the \u003ca href=\"https://www.lulawashington.org\" target=\"_blank\" rel=\"noopener\">Lulu Washington Dance Company\u003c/a>, and the guy that promotes it, the husband of Lulu Washington, said, ‘Oh, my nephew is really a good player!’ I go, ‘Okay, whatever.’ Then I open \u003cem>Rolling Stone\u003c/em> and there he was. \u003ca href=\"https://www.kamasiwashington.com\" target=\"_blank\" rel=\"noopener\">Kamasi Washington\u003c/a>. He didn’t have an agent. We paid him a little bit of money, and then he was charging $50,000 right after that.”\u003c/p>\n\u003cp>“Same with Trombone Shorty, who we found. You know, played at the main stage, and became unaffordable a couple of years after we had him.”\u003c/p>\n\u003cp>Like anybody else, the organizers are partial to headliners. Rawson’s favorite? “I’m really excited that we’re having \u003ca href=\"http://diannereeves.com\" target=\"_blank\" rel=\"noopener\">Dianne Reeves\u003c/a> back. She was named an \u003ca href=\"https://www.arts.gov/honors/jazz/dianne-reeves\" target=\"_blank\" rel=\"noopener\">NEA Jazz Master\u003c/a> last year. She was with us in our second year of the festival. She’s this will be her fourth time appearing with us, and it’s always there’s really a sense of almost homecoming for a lot of our folks that come each year, and she’s just outstanding.”\u003c/p>\n\u003cp>San Jose Jazz doesn’t typically have performance recording rights. The local radio station \u003ca href=\"https://www.kcsm.org\" target=\"_blank\" rel=\"noopener\">KCSM\u003c/a> broadcasts some of the music live, and they do run a highlight show the following spring. There’s also some live streaming. But generally, you have to be in San Jose to experience Summer Fest in all its multi-faceted, musical glory.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003cstrong>San Jose Jazz Summer Fest\u003c/strong> runs August 9-11, 2019. For more information, click \u003ca href=\"https://summerfest.sanjosejazz.org/artists/7th-street-big-band\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13863049/san-jose-jazz-summer-fest-in-the-pocket-at-30","authors":["251"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_638","arts_879","arts_1118","arts_1923","arts_3277","arts_831","arts_1420","arts_1774","arts_1694","arts_596","arts_924","arts_4642","arts_1084","arts_2078","arts_956"],"featImg":"arts_13863065","label":"arts"},"arts_13840693":{"type":"posts","id":"arts_13840693","meta":{"index":"posts_1591205157","site":"arts","id":"13840693","score":null,"sort":[1537016412000]},"guestAuthors":[],"slug":"down-home-music-american-roots-on-tap-at-sfos-terminal-2","title":"Down-Home Music: American Roots on Tap at SFO's Terminal 2","publishDate":1537016412,"format":"audio","headTitle":"Down-Home Music: American Roots on Tap at SFO’s Terminal 2 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Sometimes it takes an immigrant to spot something magical we take for granted here in America. That was the story for a lot of American roots music that won over a dedicated champion when a young German teenager arrived in the US after World War II and turned on the radio.\u003c/p>\n\u003cp>“I just fell in love,” says Chris Strachwitz, who now hails from El Cerrito. At the age of 87, he can look back on a long career discovering, documenting and promoting a host of musical traditions, including bluegrass, blues, Cajun, creole, gospel, Tejano, and zydeco, to name just a few.\u003c/p>\n\u003cp>Music fans in the know know Strachwitz is the San Francisco Bay Area’s local legendary ethnomusicologist, akin to \u003ca href=\"https://folklife.si.edu/legacy-honorees/alan-lomax/smithsonian\" target=\"_blank\" rel=\"noopener\">Alan Lomax\u003c/a> and \u003ca href=\"https://folklife.si.edu/legacy-honorees/moses-asch/smithsonian\" target=\"_blank\" rel=\"noopener\">Moses Asch\u003c/a>. But for those who don’t, \u003ca href=\"https://www.flysfo.com/museum/exhibitions/down-home-music-story-arhoolie-records\" target=\"_blank\" rel=\"noopener\">\u003cem>Down-Home Music: The Story of Arhoolie Records\u003c/em>\u003c/a>, in SFO’s Terminal 2, offers a fun-sized introduction to the history with a collection of album covers and concert posters, as well as a short documentary produced by SFO Museum, which put on this exhibition.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=08QCTH2O0R4]”I was simply a song catcher, and I didn’t try to produce anything really. I just caught what I heard that I really liked,” Strachwitz says.That said, he traveled far and wide to find what he liked.\u003c/p>\n\u003cp>His very first recording for the Arhoolie label was of Texas sharecropper Mance Lipscomb of Navasota, Texas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Strachwitz and Mack McCormick recorded Lipscomb in 1960. “I was lucky I had that guitar with me. He loved to play and he just gave us one song after another,” Strachwitz recalls.\u003c/p>\n\u003cfigure id=\"attachment_13840771\" class=\"wp-caption aligncenter\" style=\"max-width: 401px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840771\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/arhoolie_detail_sfom_3.jpg\" alt=\"Rhythm-and-blues singer Big Mama Thornton (1926–84) was first to record the songs “Hound Dog” and her own composition, “Ball n’ Chain,” which would later be made famous by Elvis Presley and Janis Joplin. During the 1960s folk music revival, she made several records with Arhoolie and performed at a number of festivals in the United States and Europe.\" width=\"401\" height=\"650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/arhoolie_detail_sfom_3.jpg 401w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/arhoolie_detail_sfom_3-160x259.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/arhoolie_detail_sfom_3-240x389.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/arhoolie_detail_sfom_3-375x608.jpg 375w\" sizes=\"(max-width: 401px) 100vw, 401px\">\u003cfigcaption class=\"wp-caption-text\">Rhythm-and-blues singer Big Mama Thornton (1926–84) was first to record the songs “Hound Dog” and her own composition, “Ball n’ Chain,” which would later be made famous by Elvis Presley and Janis Joplin. During the 1960s folk music revival, she made several records with Arhoolie and performed at a number of festivals in the United States and Europe. \u003ccite>(Photo: Courtesy of the Arhoolie Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After recording with Strachwitz, Lipscomb became a popular figure on the folk music scene, performing for audiences around the country. The story is similar for many other now beloved blues artists like Clifton Chenier, Mississippi Fred McDowell and \u003ca title=\"Mr. Strachwitz talking about Hopkins\" href=\"http://www.youtube.com/watch?v=VW401FcAAnc\">Lightnin’ Hopkins\u003c/a>.\u003c/p>\n\u003cp>“Without Chris, a lot of this music we might have never heard,” says Nicole Mullen, curator of exhibitions at SFO Museum. “We really wanted to show what Chris has done helping to preserve American vernacular music.\u003c/p>\n\u003cp>\u003cem>Down Home\u003c/em> also acknowledges Strachwitz’s work collecting Texas-Mexican music, from mariachi and norteño accordion groups to corridos. Mullen says in many cases these artists “gained fame through him, or he restored their careers.”\u003c/p>\n\u003cp>Strachwitz also collaborated with filmmaker \u003ca href=\"https://lesblank.com/films-by-others/chris-strachwitz/\" target=\"_blank\" rel=\"noopener\">Les Blank\u003c/a> on documentaries like “Chulas Fronteras,” about Tejano music.[youtube https://www.youtube.com/watch?v=IVAfj4yvhps]\u003cbr>\nIn recent years, Strachwitz has been most concerned with preserving his legacy for generations to come.\u003c/p>\n\u003cp>\u003ca href=\"https://folkways.si.edu/arhoolie\" target=\"_blank\" rel=\"noopener\">Smithsonian Folkways Recordings\u003c/a> owns his label now. The \u003ca title=\"Its Web site\" href=\"http://frontera.library.ucla.edu/\">Strachwitz Frontera Collection\u003c/a> at the University of California, Los Angeles provides public access to a huge variety of Mexican and Mexican-American music.\u003c/p>\n\u003cp>These days, Strachwitz also runs the \u003ca href=\"https://arhoolie.org\" target=\"_blank\" rel=\"noopener\">Arhoolie Foundation\u003c/a>, which is, among other things, holding a benefit concert on October 13, 2018 at the UC Theatre in Berkeley featuring Taj Mahal and Oakland’s own Fantastic Negrito. The Foundation will give away the first ever Arhoolie Awards at that event to local musicians, teachers, and community organizations doing their part to keep tradition-based music alive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Down-Home Music: The Story of Arhoolie Records\u003c/strong>, runs Sept. 15, 2018 – June 9, 2019 in SFO’s Terminal 2, post-Security, For more information, click \u003ca href=\"https://www.flysfo.com/museum/exhibitions/down-home-music-story-arhoolie-records\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The vast and varied history of El Cerrito's Arhoolie Records is on view now at SFO's Terminal 2, courtesy of SFO Museum.","status":"publish","parent":0,"modified":1705027249,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":655},"headData":{"title":"Down-Home Music: American Roots on Tap at SFO's Terminal 2 | KQED","description":"The vast and varied history of El Cerrito's Arhoolie Records is on view now at SFO's Terminal 2, courtesy of SFO Museum.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Down-Home Music: American Roots on Tap at SFO's Terminal 2","datePublished":"2018-09-15T13:00:12.000Z","dateModified":"2024-01-12T02:40:49.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2018/09/MyrowDownHomeMusic.mp3","sticky":false,"audioTrackLength":134,"path":"/arts/13840693/down-home-music-american-roots-on-tap-at-sfos-terminal-2","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes it takes an immigrant to spot something magical we take for granted here in America. That was the story for a lot of American roots music that won over a dedicated champion when a young German teenager arrived in the US after World War II and turned on the radio.\u003c/p>\n\u003cp>“I just fell in love,” says Chris Strachwitz, who now hails from El Cerrito. At the age of 87, he can look back on a long career discovering, documenting and promoting a host of musical traditions, including bluegrass, blues, Cajun, creole, gospel, Tejano, and zydeco, to name just a few.\u003c/p>\n\u003cp>Music fans in the know know Strachwitz is the San Francisco Bay Area’s local legendary ethnomusicologist, akin to \u003ca href=\"https://folklife.si.edu/legacy-honorees/alan-lomax/smithsonian\" target=\"_blank\" rel=\"noopener\">Alan Lomax\u003c/a> and \u003ca href=\"https://folklife.si.edu/legacy-honorees/moses-asch/smithsonian\" target=\"_blank\" rel=\"noopener\">Moses Asch\u003c/a>. But for those who don’t, \u003ca href=\"https://www.flysfo.com/museum/exhibitions/down-home-music-story-arhoolie-records\" target=\"_blank\" rel=\"noopener\">\u003cem>Down-Home Music: The Story of Arhoolie Records\u003c/em>\u003c/a>, in SFO’s Terminal 2, offers a fun-sized introduction to the history with a collection of album covers and concert posters, as well as a short documentary produced by SFO Museum, which put on this exhibition.\u003c/p>\n\u003cp>\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/08QCTH2O0R4'\n title='//www.youtube.com/embed/08QCTH2O0R4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>”I was simply a song catcher, and I didn’t try to produce anything really. I just caught what I heard that I really liked,” Strachwitz says.That said, he traveled far and wide to find what he liked.\u003c/p>\n\u003cp>His very first recording for the Arhoolie label was of Texas sharecropper Mance Lipscomb of Navasota, Texas.\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>Strachwitz and Mack McCormick recorded Lipscomb in 1960. “I was lucky I had that guitar with me. He loved to play and he just gave us one song after another,” Strachwitz recalls.\u003c/p>\n\u003cfigure id=\"attachment_13840771\" class=\"wp-caption aligncenter\" style=\"max-width: 401px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840771\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/arhoolie_detail_sfom_3.jpg\" alt=\"Rhythm-and-blues singer Big Mama Thornton (1926–84) was first to record the songs “Hound Dog” and her own composition, “Ball n’ Chain,” which would later be made famous by Elvis Presley and Janis Joplin. During the 1960s folk music revival, she made several records with Arhoolie and performed at a number of festivals in the United States and Europe.\" width=\"401\" height=\"650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/arhoolie_detail_sfom_3.jpg 401w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/arhoolie_detail_sfom_3-160x259.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/arhoolie_detail_sfom_3-240x389.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/arhoolie_detail_sfom_3-375x608.jpg 375w\" sizes=\"(max-width: 401px) 100vw, 401px\">\u003cfigcaption class=\"wp-caption-text\">Rhythm-and-blues singer Big Mama Thornton (1926–84) was first to record the songs “Hound Dog” and her own composition, “Ball n’ Chain,” which would later be made famous by Elvis Presley and Janis Joplin. During the 1960s folk music revival, she made several records with Arhoolie and performed at a number of festivals in the United States and Europe. \u003ccite>(Photo: Courtesy of the Arhoolie Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After recording with Strachwitz, Lipscomb became a popular figure on the folk music scene, performing for audiences around the country. The story is similar for many other now beloved blues artists like Clifton Chenier, Mississippi Fred McDowell and \u003ca title=\"Mr. Strachwitz talking about Hopkins\" href=\"http://www.youtube.com/watch?v=VW401FcAAnc\">Lightnin’ Hopkins\u003c/a>.\u003c/p>\n\u003cp>“Without Chris, a lot of this music we might have never heard,” says Nicole Mullen, curator of exhibitions at SFO Museum. “We really wanted to show what Chris has done helping to preserve American vernacular music.\u003c/p>\n\u003cp>\u003cem>Down Home\u003c/em> also acknowledges Strachwitz’s work collecting Texas-Mexican music, from mariachi and norteño accordion groups to corridos. Mullen says in many cases these artists “gained fame through him, or he restored their careers.”\u003c/p>\n\u003cp>Strachwitz also collaborated with filmmaker \u003ca href=\"https://lesblank.com/films-by-others/chris-strachwitz/\" target=\"_blank\" rel=\"noopener\">Les Blank\u003c/a> on documentaries like “Chulas Fronteras,” about Tejano music.\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/IVAfj4yvhps'\n title='//www.youtube.com/embed/IVAfj4yvhps'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cbr>\nIn recent years, Strachwitz has been most concerned with preserving his legacy for generations to come.\u003c/p>\n\u003cp>\u003ca href=\"https://folkways.si.edu/arhoolie\" target=\"_blank\" rel=\"noopener\">Smithsonian Folkways Recordings\u003c/a> owns his label now. The \u003ca title=\"Its Web site\" href=\"http://frontera.library.ucla.edu/\">Strachwitz Frontera Collection\u003c/a> at the University of California, Los Angeles provides public access to a huge variety of Mexican and Mexican-American music.\u003c/p>\n\u003cp>These days, Strachwitz also runs the \u003ca href=\"https://arhoolie.org\" target=\"_blank\" rel=\"noopener\">Arhoolie Foundation\u003c/a>, which is, among other things, holding a benefit concert on October 13, 2018 at the UC Theatre in Berkeley featuring Taj Mahal and Oakland’s own Fantastic Negrito. The Foundation will give away the first ever Arhoolie Awards at that event to local musicians, teachers, and community organizations doing their part to keep tradition-based music alive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Down-Home Music: The Story of Arhoolie Records\u003c/strong>, runs Sept. 15, 2018 – June 9, 2019 in SFO’s Terminal 2, post-Security, For more information, click \u003ca href=\"https://www.flysfo.com/museum/exhibitions/down-home-music-story-arhoolie-records\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13840693/down-home-music-american-roots-on-tap-at-sfos-terminal-2","authors":["251"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_638","arts_5620","arts_1118","arts_2415","arts_3277","arts_3648","arts_596","arts_4642","arts_4231","arts_5618"],"featImg":"arts_13840695","label":"arts"},"arts_13835874":{"type":"posts","id":"arts_13835874","meta":{"index":"posts_1591205157","site":"arts","id":"13835874","score":null,"sort":[1530136842000]},"guestAuthors":[],"slug":"tiffany-austins-soul-steeped-jazz-celebrates-black-resilience","title":"Tiffany Austin's Soul-Steeped Jazz Celebrates Black Resilience","publishDate":1530136842,"format":"standard","headTitle":"Tiffany Austin’s Soul-Steeped Jazz Celebrates Black Resilience | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Redolent of church pews and juke joints, protest rallies and swanky night clubs, \u003ca href=\"https://www.tiffanyaustin.com\">Tiffany Austin’s\u003c/a> voice situates her firmly within the expansive embrace of African-American culture and musical tradition. But as a jazz singer coming up in the Bay Area scene, she sometimes finds herself pushing back against traditionalists who think that she should divest her sound of its soul-steeped DNA—that her melismatic flourishes don’t belong in jazz settings.\u003c/p>\n\u003cp>Austin was just starting to study jazz vocals as a creative outlet while pursuing a degree from the UC Berkeley School of Law in 2009 when she first felt shade from some of her teachers about “unsophisticated R&B singers,” she recalls. “I was told ‘You’re not feeling the music,’ and there was all this anti-soul, anti-blues stuff in the air.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_yzecHwPAOU\u003c/p>\n\u003cp>She answered that critique with her star-making 2015 debut album \u003ca href=\"https://www.amazon.com/Nothing-But-Soul-Tiffany-Austin/dp/B0124KY0R2\">\u003cem>Nothing But Soul\u003c/em>\u003c/a>, which earned rapturous reviews in both jazz-centric publications (\u003cem>Downbeat\u003c/em>) and wide-focus cultural outlets (\u003ca href=\"https://www.npr.org/2015/08/28/435520724/jazz-vocalist-issues-a-convincing-calling-card-with-nothing-but-soul\">NPR’s \u003cem>Fresh Air\u003c/em>\u003c/a>).\u003c/p>\n\u003cp>With the curdling political climate around the 2016 presidential election, Austin decided she needed to make a larger statement to counter an environment that increasingly seemed to denigrate, erase, distort or appropriate black expression. Rather than bringing a laser focus to the jazz tradition, she refracted a rainbow of African-American music with her June album, \u003ca href=\"https://www.amazon.com/Unbroken-Tiffany-Austin/dp/B07CCFZFRV\">\u003cem>Unbroken\u003c/em>\u003c/a>, a project blazing with blues, swing, bebop, spirituals, R&B and her own Louisiana Creole heritage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wanted to present the idea that the African-American spirit remains unbroken—that with all the things we go through, we’re still here, creating joyfully, creating great art and great music,” says Austin, who plays her first Bay Area album release date on June 29 at the \u003ca href=\"https://stanfordjazz.org/more-info/tiffany-austin-septet/\">Stanford Jazz Festival\u003c/a> with her septet. The ensemble features tenor \u003ca href=\"https://www.teodrossavery.com\">saxophonist Teodross Avery\u003c/a>, a young-lion star of the 1990s who’s returned to playing full time after earning a PhD in jazz studies from the University of Southern California.\u003c/p>\n\u003cp>The album release celebration moves to Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/tiffany-austin-septet-feat-special-guest-carl-allen-unbroken-album-release-concert/\">Kuumbwa Jazz Center\u003c/a> on July 5 and the \u003ca href=\"https://www.sfjazz.org/tickets/productions/tiffany-austin/\">SFJazz Center\u003c/a> on Aug. 11, when \u003cem>Unbroken\u003c/em> co-producer, arranger and trombonist Mitch Butler and New York drum maestro Carl Allen join Austin on stage.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SX2kHTosLAg\u003c/p>\n\u003cp>Co-produced by Grammy winner Richard Seidel, \u003cem>Unbroken\u003c/em> opens with two Austin originals that speak to how violent suppression of black accomplishment can lead to emotional scars. Her song “Blues Creole” distills the murky story of pioneering Louisiana Creole accordionist-vocalist Amédé Ardoin, who was allegedly killed in 1942 for interacting with a white woman at a dance. The disquieting and outraged “Greenwood” connects Watts and Ferguson to the infamous 1921 pogrom that wiped out Tulsa, Oklahoma’s prosperous “\u003ca href=\"https://www.ebony.com/black-history/the-destruction-of-black-wall-street-405\" target=\"_blank\" rel=\"noopener\">Black Wall Street\u003c/a>” neighborhood.\u003c/p>\n\u003cp>Austin’s songs are impressive works fully brought to life by her superlative accompanists, a band built on a sleek and high-octane rhythm section with pianist Cyrus Chestnut, bassist Rodney Whitaker and drummer Carl Allen. Allen says he’s relished delving into Austin’s repertoire, which extends far beyond American Songbook standards.\u003c/p>\n\u003cp>“She’s a real musician. She’s soulful and she’s got a concept that’s very cool and courageous,” says Allen. “And I was wonderfully surprised by how much studying she had done, not only the music she wanted to present, but where it was coming from and the roots.”\u003c/p>\n\u003cp>Righteous anger is only one hue in Austin’s vivid emotional palette. Putting a personal stamp on the jazz canon, she turns Ornette Coleman’s early free-bop invocation “The Blessing” into an ode to gratitude. She evokes the ineffable divine spirit with her wordless vocals on Coltrane’s “Resolution” from \u003cem>A Love Supreme\u003c/em>. She often talks about her music as “freedom songs,” a trope that manifests in all its glory with a striking version of Donny Hathaway’s “Someday We’ll All Be Free.”\u003c/p>\n\u003cp>Another high point is Austin’s galvanizing duet with Whitaker on the civil rights anthem “Keep Your Eyes On the Prize.” But no piece better encapsulates her seamless tapestry of the sacred and secular than her rendition of the folk/gospel classic “Ain’t No Grave,” which ascends to a sanctified, pew-shaking scat solo.\u003c/p>\n\u003cp>“That’s the album’s centerpiece for me,” says Austin, who sees her music as honoring the struggles that made her path possible. “I can’t even think about what folks went through, brought here under the worst conditions and facing continued discrimination. And I’m standing here with a law degree and can say today, ‘I’m going to write a song.’ That’s a testament to how powerful the spirits of the ancestors are.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nqqc1N7jIpI\u003c/p>\n\u003cp>In many ways, a brilliant cadre of black artists Austin connected with after moving to the Bay Area shaped her musical vision. A Los Angeles native from a musically inclined family (her older brother John Austin IV is the popular underground rapper Ras Kass), Austin spent several years singing R&B and soul in Japan before the UC Berkeley School of Law made her a scholarship offer she couldn’t refuse.\u003c/p>\n\u003cp>After the grueling first year of law school, feeling bereft without music in her life, she sought out opportunities to perform and quickly came into the orbit of \u003ca href=\"https://www.marcusshelby.com\">bassist Marcus Shelby\u003c/a>, a composer and bandleader with a deep catalog of ambitious projects exploring various facets of African-American history, culture and politics. Through Shelby, she connected with\u003ca href=\"https://www.mercurynews.com/2018/05/16/howard-wiley-brings-soulful-sax-sound-tro-malcolm-x-fest-in-oakland/\"> saxophonist Howard Wiley\u003c/a>, another deeply rooted artist whose music encompasses Saturday night revelry and Sunday morning worship.\u003c/p>\n\u003cp>Wiley played a crucial role shepherding Austin’s debut album \u003cem>Nothing But Soul\u003c/em>, a project focusing on the songs of pianist and composer Hoagy Carmichael. In looking to develop her own approach to the tradition, Austin also gained invaluable insight watching veteran vocal masters \u003ca href=\"https://www.fayecarol.com\">Faye Carol\u003c/a> (who mentored both Shelby and Wiley) and \u003ca href=\"https://www.kennywashingtonvocalist.com\">Kenny Washington\u003c/a>, whom many peers consider the world’s finest male jazz singer.\u003c/p>\n\u003cp>“Their styles are so different, but what they bring is a real connection to the history and culture of the music,” Austin says. “I remember the first time I saw Faye Carol, I was so inspired by the joy that she brings when she sings. She brings you to your knees and to your feet, all at the same time.”\u003c/p>\n\u003cp>From Washington she gleaned a similar kind of authority, the “kind of feeling you get in church, but people aren’t scatting in church, at least not the church I go to,” Austin says. “Kenny just puts his heart out there. He’s such a musical being, you can’t take your eyes off of him.”\u003c/p>\n\u003cp>Absorbing lessons from the Bay Area’s best, Austin is becoming a national figure in her own right: an artist with a musical message as topical as an unsettling headline and as timeless as an Ella Fitzgerald ballad.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Tiffany Austin Septet perform at the Stanford Jazz Festival on June 29. \u003ca href=\"https://stanfordjazz.org/stanford-jazz-festival-2018/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"She performs songs from her new album, 'Unbroken,' with a concert at the Stanford Jazz Festival on June 29.","status":"publish","parent":0,"modified":1705027569,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1271},"headData":{"title":"Tiffany Austin's Soul-Steeped Jazz Celebrates Black Resilience | KQED","description":"She performs songs from her new album, 'Unbroken,' with a concert at the Stanford Jazz Festival on June 29.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Tiffany Austin's Soul-Steeped Jazz Celebrates Black Resilience","datePublished":"2018-06-27T22:00:42.000Z","dateModified":"2024-01-12T02:46:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13835874/tiffany-austins-soul-steeped-jazz-celebrates-black-resilience","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Redolent of church pews and juke joints, protest rallies and swanky night clubs, \u003ca href=\"https://www.tiffanyaustin.com\">Tiffany Austin’s\u003c/a> voice situates her firmly within the expansive embrace of African-American culture and musical tradition. But as a jazz singer coming up in the Bay Area scene, she sometimes finds herself pushing back against traditionalists who think that she should divest her sound of its soul-steeped DNA—that her melismatic flourishes don’t belong in jazz settings.\u003c/p>\n\u003cp>Austin was just starting to study jazz vocals as a creative outlet while pursuing a degree from the UC Berkeley School of Law in 2009 when she first felt shade from some of her teachers about “unsophisticated R&B singers,” she recalls. “I was told ‘You’re not feeling the music,’ and there was all this anti-soul, anti-blues stuff in the air.”\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/_yzecHwPAOU'\n title='//www.youtube.com/embed/_yzecHwPAOU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She answered that critique with her star-making 2015 debut album \u003ca href=\"https://www.amazon.com/Nothing-But-Soul-Tiffany-Austin/dp/B0124KY0R2\">\u003cem>Nothing But Soul\u003c/em>\u003c/a>, which earned rapturous reviews in both jazz-centric publications (\u003cem>Downbeat\u003c/em>) and wide-focus cultural outlets (\u003ca href=\"https://www.npr.org/2015/08/28/435520724/jazz-vocalist-issues-a-convincing-calling-card-with-nothing-but-soul\">NPR’s \u003cem>Fresh Air\u003c/em>\u003c/a>).\u003c/p>\n\u003cp>With the curdling political climate around the 2016 presidential election, Austin decided she needed to make a larger statement to counter an environment that increasingly seemed to denigrate, erase, distort or appropriate black expression. Rather than bringing a laser focus to the jazz tradition, she refracted a rainbow of African-American music with her June album, \u003ca href=\"https://www.amazon.com/Unbroken-Tiffany-Austin/dp/B07CCFZFRV\">\u003cem>Unbroken\u003c/em>\u003c/a>, a project blazing with blues, swing, bebop, spirituals, R&B and her own Louisiana Creole heritage.\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 wanted to present the idea that the African-American spirit remains unbroken—that with all the things we go through, we’re still here, creating joyfully, creating great art and great music,” says Austin, who plays her first Bay Area album release date on June 29 at the \u003ca href=\"https://stanfordjazz.org/more-info/tiffany-austin-septet/\">Stanford Jazz Festival\u003c/a> with her septet. The ensemble features tenor \u003ca href=\"https://www.teodrossavery.com\">saxophonist Teodross Avery\u003c/a>, a young-lion star of the 1990s who’s returned to playing full time after earning a PhD in jazz studies from the University of Southern California.\u003c/p>\n\u003cp>The album release celebration moves to Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/tiffany-austin-septet-feat-special-guest-carl-allen-unbroken-album-release-concert/\">Kuumbwa Jazz Center\u003c/a> on July 5 and the \u003ca href=\"https://www.sfjazz.org/tickets/productions/tiffany-austin/\">SFJazz Center\u003c/a> on Aug. 11, when \u003cem>Unbroken\u003c/em> co-producer, arranger and trombonist Mitch Butler and New York drum maestro Carl Allen join Austin on stage.\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/SX2kHTosLAg'\n title='//www.youtube.com/embed/SX2kHTosLAg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Co-produced by Grammy winner Richard Seidel, \u003cem>Unbroken\u003c/em> opens with two Austin originals that speak to how violent suppression of black accomplishment can lead to emotional scars. Her song “Blues Creole” distills the murky story of pioneering Louisiana Creole accordionist-vocalist Amédé Ardoin, who was allegedly killed in 1942 for interacting with a white woman at a dance. The disquieting and outraged “Greenwood” connects Watts and Ferguson to the infamous 1921 pogrom that wiped out Tulsa, Oklahoma’s prosperous “\u003ca href=\"https://www.ebony.com/black-history/the-destruction-of-black-wall-street-405\" target=\"_blank\" rel=\"noopener\">Black Wall Street\u003c/a>” neighborhood.\u003c/p>\n\u003cp>Austin’s songs are impressive works fully brought to life by her superlative accompanists, a band built on a sleek and high-octane rhythm section with pianist Cyrus Chestnut, bassist Rodney Whitaker and drummer Carl Allen. Allen says he’s relished delving into Austin’s repertoire, which extends far beyond American Songbook standards.\u003c/p>\n\u003cp>“She’s a real musician. She’s soulful and she’s got a concept that’s very cool and courageous,” says Allen. “And I was wonderfully surprised by how much studying she had done, not only the music she wanted to present, but where it was coming from and the roots.”\u003c/p>\n\u003cp>Righteous anger is only one hue in Austin’s vivid emotional palette. Putting a personal stamp on the jazz canon, she turns Ornette Coleman’s early free-bop invocation “The Blessing” into an ode to gratitude. She evokes the ineffable divine spirit with her wordless vocals on Coltrane’s “Resolution” from \u003cem>A Love Supreme\u003c/em>. She often talks about her music as “freedom songs,” a trope that manifests in all its glory with a striking version of Donny Hathaway’s “Someday We’ll All Be Free.”\u003c/p>\n\u003cp>Another high point is Austin’s galvanizing duet with Whitaker on the civil rights anthem “Keep Your Eyes On the Prize.” But no piece better encapsulates her seamless tapestry of the sacred and secular than her rendition of the folk/gospel classic “Ain’t No Grave,” which ascends to a sanctified, pew-shaking scat solo.\u003c/p>\n\u003cp>“That’s the album’s centerpiece for me,” says Austin, who sees her music as honoring the struggles that made her path possible. “I can’t even think about what folks went through, brought here under the worst conditions and facing continued discrimination. And I’m standing here with a law degree and can say today, ‘I’m going to write a song.’ That’s a testament to how powerful the spirits of the ancestors are.”\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/nqqc1N7jIpI'\n title='//www.youtube.com/embed/nqqc1N7jIpI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In many ways, a brilliant cadre of black artists Austin connected with after moving to the Bay Area shaped her musical vision. A Los Angeles native from a musically inclined family (her older brother John Austin IV is the popular underground rapper Ras Kass), Austin spent several years singing R&B and soul in Japan before the UC Berkeley School of Law made her a scholarship offer she couldn’t refuse.\u003c/p>\n\u003cp>After the grueling first year of law school, feeling bereft without music in her life, she sought out opportunities to perform and quickly came into the orbit of \u003ca href=\"https://www.marcusshelby.com\">bassist Marcus Shelby\u003c/a>, a composer and bandleader with a deep catalog of ambitious projects exploring various facets of African-American history, culture and politics. Through Shelby, she connected with\u003ca href=\"https://www.mercurynews.com/2018/05/16/howard-wiley-brings-soulful-sax-sound-tro-malcolm-x-fest-in-oakland/\"> saxophonist Howard Wiley\u003c/a>, another deeply rooted artist whose music encompasses Saturday night revelry and Sunday morning worship.\u003c/p>\n\u003cp>Wiley played a crucial role shepherding Austin’s debut album \u003cem>Nothing But Soul\u003c/em>, a project focusing on the songs of pianist and composer Hoagy Carmichael. In looking to develop her own approach to the tradition, Austin also gained invaluable insight watching veteran vocal masters \u003ca href=\"https://www.fayecarol.com\">Faye Carol\u003c/a> (who mentored both Shelby and Wiley) and \u003ca href=\"https://www.kennywashingtonvocalist.com\">Kenny Washington\u003c/a>, whom many peers consider the world’s finest male jazz singer.\u003c/p>\n\u003cp>“Their styles are so different, but what they bring is a real connection to the history and culture of the music,” Austin says. “I remember the first time I saw Faye Carol, I was so inspired by the joy that she brings when she sings. She brings you to your knees and to your feet, all at the same time.”\u003c/p>\n\u003cp>From Washington she gleaned a similar kind of authority, the “kind of feeling you get in church, but people aren’t scatting in church, at least not the church I go to,” Austin says. “Kenny just puts his heart out there. He’s such a musical being, you can’t take your eyes off of him.”\u003c/p>\n\u003cp>Absorbing lessons from the Bay Area’s best, Austin is becoming a national figure in her own right: an artist with a musical message as topical as an unsettling headline and as timeless as an Ella Fitzgerald ballad.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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>The Tiffany Austin Septet perform at the Stanford Jazz Festival on June 29. \u003ca href=\"https://stanfordjazz.org/stanford-jazz-festival-2018/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13835874/tiffany-austins-soul-steeped-jazz-celebrates-black-resilience","authors":["86"],"categories":["arts_69"],"tags":["arts_638","arts_1118","arts_1420","arts_596","arts_956"],"featImg":"arts_13836109","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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