Reid's Records, Berkeley Gospel Mainstay, to Close After 75 Years
Aretha's Bridge
Down-Home Music: American Roots on Tap at SFO's Terminal 2
Revered Drummer Brian Blade Draws a Through-Line from Jazz to Gospel
Clarence Fountain, Co-Founder of Blind Boys of Alabama, Dies
Sister Rosetta Tharpe Gets Her Day in the Rock & Roll Hall of Fame
Songs of Praise and Generosity from a Beloved Bay Area Institution
Sponsored
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When he can, Cy likes to swim in Tomales Bay, run with his dog in the East Bay Hills, and hike the Sierra.","avatar":"https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["Contributor","subscriber"]},{"site":"news","roles":["author"]},{"site":"bayareabites","roles":["contributor"]}],"headData":{"title":"Cy Musiker | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/cmusiker"},"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"},"broos":{"type":"authors","id":"3250","meta":{"index":"authors_1591205172","id":"3250","found":true},"name":"Brandon Roos","firstName":"Brandon","lastName":"Roos","slug":"broos","email":"roos.b@sbcglobal.net","display_author_email":false,"staff_mastheads":[],"title":null,"bio":null,"avatar":"https://secure.gravatar.com/avatar/d3dd0b201284955bebf9395b371d1ad4?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["contributor"]}],"headData":{"title":"Brandon Roos | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/d3dd0b201284955bebf9395b371d1ad4?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d3dd0b201284955bebf9395b371d1ad4?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/broos"},"slefebvre":{"type":"authors","id":"11091","meta":{"index":"authors_1591205172","id":"11091","found":true},"name":"Sam Lefebvre","firstName":"Sam","lastName":"Lefebvre","slug":"slefebvre","email":"sdlefebvre@gmail.com","display_author_email":false,"staff_mastheads":[],"title":null,"bio":"Sam Lefebvre is an award-winning reporter at KQED Arts. He has worked as an editor and columnist at the \u003cem>East Bay Express\u003c/em>, \u003cem>SF Weekly \u003c/em>and Impose Magazine, and his journalism and criticism has appeared in \u003cem>The New York Times\u003c/em>, the Guardian and Pitchfork.","avatar":"https://secure.gravatar.com/avatar/143b570c3dec13ae74c6aa2369b04fc8?s=600&d=blank&r=g","twitter":"Lefebvre_Sam","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["author"]}],"headData":{"title":"Sam Lefebvre | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/143b570c3dec13ae74c6aa2369b04fc8?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/143b570c3dec13ae74c6aa2369b04fc8?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/slefebvre"}},"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_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_13850266":{"type":"posts","id":"arts_13850266","meta":{"index":"posts_1591205157","site":"arts","id":"13850266","score":null,"sort":[1549489316000]},"guestAuthors":[],"slug":"reids-records-berkeley-gospel-mainstay-to-close-after-75-years","title":"Reid's Records, Berkeley Gospel Mainstay, to Close After 75 Years","publishDate":1549489316,"format":"standard","headTitle":"Reid’s Records, Berkeley Gospel Mainstay, to Close After 75 Years | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>Reid’s Records, a one-stop shop for the gospel experience, will close after 75 years of family-owned business in October, Berkeleyside \u003ca href=\"https://www.berkeleyside.com/2019/02/05/reids-records-californias-oldest-record-shop-to-close-in-the-fall\">reported\u003c/a> Tuesday. \u003c/p>\n\u003cp>The southwest Berkeley store, reportedly the state’s oldest record shop, opened on Sacramento Street in 1945 to serve the East Bay’s swelling black community. Diara Reid, daughter of the founders Mel and Betty, blamed gentrification and black depopulation for Reid’s diminishing clientele, adding “no one buys CDs anymore.” \u003c/p>\n\u003cp>Reid’s was closed when a reporter visited during regular store hours Wednesday morning, a “For Rent” sign posted in the window of the two-story building. Choir robes hung on a rack behind the security gate, and a hopeful customer waited more than 30 minutes before driving away. \u003c/p>\n\u003cfigure id=\"attachment_13850286\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Mel.Aretha-800x636.jpg\" alt=\"Reid's Records cofounder Mel Reid with a young Aretha Franklin.\" width=\"800\" height=\"636\" class=\"size-medium wp-image-13850286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-800x636.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-768x611.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-1020x811.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-1200x954.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha.jpg 1901w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mel Reid with a young Aretha Franklin. \u003ccite>(Reid's Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reid’s, as East Bay blues and jazz scribe Lee Hildebrand has \u003ca href=\"http://geoffreyslive.com/acknowledging/a-history-of-reids-records/\">written\u003c/a>, opened in the emerging market of what was then called “race music.” \u003c/p>\n\u003cp>In the 1950s Mel and his uncle Paul Reid partnered to promote gospel concerts at the Oakland Auditorium (later named for industrialist Henry J. Kaiser), presenting stars such as James Cleveland, The Staple Singers and the Rev. C.L. Franklin, whose revue included his teenage daughter, Aretha Franklin. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”lCEwS3PBLnlGyiWfQ4VZBFKIhDgVl3VG”]\u003c/p>\n\u003cp>The business struggled in the late 1970s, with Mel resorting to selling items such as posters and water pipes. Betty, who’d by then remarried, returned to run the store. By the 1980s, she refocused the selection on gospel, even making the news for refusing to stock hip-hop.\u003c/p>\n\u003cp>Diara has run the shop since the 1990s. In recent years she presented gospel concerts in Richmond, but found a much cooler reception than her father did in the 1950s. “The African-American community we served for 75 years doesn’t exist here anymore,” she told Berkeleyside.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mel died in 1988. Betty Reid Soskin, 97, is today \u003ca href=\"https://www.kqed.org/forum/201506101000/americas-oldest-park-ranger-brings-history-to-life-at-richmonds-rosie-the-riveter-park\">known\u003c/a> as the country’s oldest Park Ranger. Last year she published a memoir, \u003cem>Sign My Name to Freedom\u003c/em>. \u003c/p>\n\n","blocks":[],"excerpt":"The East Bay soul and R&B institution, now a specialty shop for gospel music, plans to close in October.","status":"publish","parent":0,"modified":1705026642,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":357},"headData":{"title":"Reid's Records, Berkeley Gospel Mainstay, to Close After 75 Years | KQED","description":"The East Bay soul and R&B institution, now a specialty shop for gospel music, plans to close in October.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Reid's Records, Berkeley Gospel Mainstay, to Close After 75 Years","datePublished":"2019-02-06T21:41:56.000Z","dateModified":"2024-01-12T02:30:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13850266/reids-records-berkeley-gospel-mainstay-to-close-after-75-years","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Reid’s Records, a one-stop shop for the gospel experience, will close after 75 years of family-owned business in October, Berkeleyside \u003ca href=\"https://www.berkeleyside.com/2019/02/05/reids-records-californias-oldest-record-shop-to-close-in-the-fall\">reported\u003c/a> Tuesday. \u003c/p>\n\u003cp>The southwest Berkeley store, reportedly the state’s oldest record shop, opened on Sacramento Street in 1945 to serve the East Bay’s swelling black community. Diara Reid, daughter of the founders Mel and Betty, blamed gentrification and black depopulation for Reid’s diminishing clientele, adding “no one buys CDs anymore.” \u003c/p>\n\u003cp>Reid’s was closed when a reporter visited during regular store hours Wednesday morning, a “For Rent” sign posted in the window of the two-story building. Choir robes hung on a rack behind the security gate, and a hopeful customer waited more than 30 minutes before driving away. \u003c/p>\n\u003cfigure id=\"attachment_13850286\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Mel.Aretha-800x636.jpg\" alt=\"Reid's Records cofounder Mel Reid with a young Aretha Franklin.\" width=\"800\" height=\"636\" class=\"size-medium wp-image-13850286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-800x636.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-768x611.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-1020x811.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-1200x954.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha.jpg 1901w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mel Reid with a young Aretha Franklin. \u003ccite>(Reid's Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reid’s, as East Bay blues and jazz scribe Lee Hildebrand has \u003ca href=\"http://geoffreyslive.com/acknowledging/a-history-of-reids-records/\">written\u003c/a>, opened in the emerging market of what was then called “race music.” \u003c/p>\n\u003cp>In the 1950s Mel and his uncle Paul Reid partnered to promote gospel concerts at the Oakland Auditorium (later named for industrialist Henry J. Kaiser), presenting stars such as James Cleveland, The Staple Singers and the Rev. C.L. Franklin, whose revue included his teenage daughter, Aretha Franklin. \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>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The business struggled in the late 1970s, with Mel resorting to selling items such as posters and water pipes. Betty, who’d by then remarried, returned to run the store. By the 1980s, she refocused the selection on gospel, even making the news for refusing to stock hip-hop.\u003c/p>\n\u003cp>Diara has run the shop since the 1990s. In recent years she presented gospel concerts in Richmond, but found a much cooler reception than her father did in the 1950s. “The African-American community we served for 75 years doesn’t exist here anymore,” she told Berkeleyside.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mel died in 1988. Betty Reid Soskin, 97, is today \u003ca href=\"https://www.kqed.org/forum/201506101000/americas-oldest-park-ranger-brings-history-to-life-at-richmonds-rosie-the-riveter-park\">known\u003c/a> as the country’s oldest Park Ranger. Last year she published a memoir, \u003cem>Sign My Name to Freedom\u003c/em>. \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13850266/reids-records-berkeley-gospel-mainstay-to-close-after-75-years","authors":["11091"],"programs":["arts_1272"],"categories":["arts_69","arts_235"],"tags":["arts_1270","arts_1118","arts_1332","arts_3277","arts_746","arts_596"],"featImg":"arts_13850276","label":"arts_1272"},"arts_13847920":{"type":"posts","id":"arts_13847920","meta":{"index":"posts_1591205157","site":"arts","id":"13847920","score":null,"sort":[1546369580000]},"guestAuthors":[],"slug":"arethas-bridge","title":"Aretha's Bridge","publishDate":1546369580,"format":"image","headTitle":"Aretha’s Bridge | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>If one way of understanding gospel music is to trace its emergence in the midst of the African-American Great Migration — from south to north, from rural areas to urban regions, from agrarian culture to industrialization, then so too can we hear Aretha Franklin traveling miles and miles in her luminous cover of Simon and Garfunkel’s “Bridge Over Troubled Water.” With each magnetic pass that she took through this song, we can hear Queen Re mediating the gospel space between traditional spirituals and blues-inflected musicality, bringing the Holy sounds of her Baptist upbringing closer to the secularized lyrics of folk hero Paul Simon.\u003c/p>\n\u003cp>In her extraordinary live performances of this track which she first performed on the Grammys telecast in 1971, Aretha Franklin \u003cem>becomes\u003c/em> a bridge, phantasmagorically elasticizing the wondrous instrument that is her vocal body across musical genres — soul, gospel, folk. Most remarkable was how she drew out the deep spiritual grooves of Simon’s “Bridge” in March of that year at concert promoter Bill Graham’s Fillmore West, a rock and roll palace where Hendrix’s psychedelia and Grateful Dead jam band bacchanalia had been flourishing since 1968. Resplendent in her flowing, earth-toned gown and a supremely Haight-Ashbury slouchy hat, she took a seat at the piano and became the first African-American woman artist to headline a concert event at the venue, home of the “long hairs” as some would refer to it.\u003c/p>\n\u003cp>[contextly_sidebar id=”NP2k2sRmZaUEykroiK5ox8yGTnIQTXN5″]\u003c/p>\n\u003cp>The journey that Aretha takes us on this song is one in which she wraps her arms around an ode to deeply enduring friendship and solidarity in times of trial. This was a moment too in which she also tapped into the traces of songwriter Paul Simon’s love of gospel greats the Swan Silvertones and their own re-reading of the spiritual “Mary Don’t You Weep,” itself a tune that folds together Old and New Testament tales of exodus and re-birth. It was a tale she surely knew well, as the daughter of legendary preacher C.L. Franklin, and she invoked all that knowledge to mine the “Bridge” for its many cultural and spiritual resonances. Along the way, just as she did with Otis Redding’s “Respect,” she made it all her own.\u003c/p>\n\u003cp>Like fellow Detroiter Diana Ross, Aretha makes a bid to “reach out and touch somebody’s hand” across an ocean of ardent, colorful tie-dye clad fans. And in doing so, those Fillmore West performances — released just a few months later as her second live album — became instantly historic in that they assert the multiracial and cross-gender possibilities of early 1970s rock and roll counterculture that so often went unrealized. As she stretches herself out in the lyrics of the song, the Queen laid the ground for making deep well statements about the politics of trust and coalition building in the face of historical uncertainty, as black liberation changed its pace and tenor, as the anti-war effort grew evermore dire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over three sold out nights, Aretha Franklin would play in the round with King Curtis and the Kingpins, one of the tightest rhythm sections other than James Brown’s JBs, setting off each evening on her own distinct version of Simon and Garfunkel’s “Bridge Over Troubled Water,” a song that marked what turned out to be a crucial period of her transformation as a musician.\u003c/p>\n\u003cp>https://youtu.be/7IExZv-mgrw\u003c/p>\n\u003cp>“Go ahead ‘Retha!” The adoring crowd embraces Aretha the vocalist and pianist as she hails her powerhouse band, a group featuring late great Curtis Ousley on saxophone and the convivial Billy Preston sitting in as guest player at the organ. “Play Billy!” Aretha calls out to her fellow musician as her incandescent cover slowly unfolds, as she wades ever so gracefully into still waters that run deep, as she moves gently and yet fearlessly into the center of Preston’s thick, bright, atmospheric keyboard universe flanked by her backup singers, the Sweethearts of Soul.\u003c/p>\n\u003cp>Aretha’s vocals radiate with the effulgent heat and the ethereal energy of the gospel tradition as she worries lines, improvises impassioned moans and carefully, elegantly puts to use a thing called the melisma, the artful, spiritually-rooted technique of stringing a series of notes together in one syllable so as to stretch out one’s vocal phrasing.\u003c/p>\n\u003cp>Hanging on words, pulling out phrases and turning them over and over so as to wring them for multiple meanings, Aretha here lets us know, without breaking a sweat, that she is still the innovator who birthed a brand of soul music that made spectacularly audible existential and spiritual self-discovery and affirmation, all at the site of her virtuosic vocalization. The philosophical intelligence of her musical phrasing and narrative interpretation set a new standard of excellence in pop music.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“When you’re down and out / When you look up and see yourself on the street / When evening falls so hard / I’ll be there to comfort you / I’ll take your part / I’ll take it when darkness comes / And there’s no one you love around.”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>Aretha the conduit. Aretha the medium. Aretha the surrogate figure for the masses. She was, especially at this point in her career, between 1971-1973 (called by critics, her “artistically mature period”), a kind of performer who was able to “shap[e] her intimacies with the skill of a dramatist,” as Ann Powers has beautifully put it. Like a great “method actor” who slips into the specific landscape of a particular song to fully inhabit it, Aretha both disappears into the emotional terrain of her “bridge” and unveils a protagonist who expresses herself in the most intense emotive registers.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“Don’t trouble the water… Why don’t ya just let it be”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>Yes, there are rumors that Simon wrote “Bridge Over Troubled Water” “for Aretha” or “with Aretha in mind.” All speculation, but certainly we can hear the ways that the song would operate as a crossroads in her career, a prescient recording that would forecast her historic transition, her own personal and professional bridge from pop superstardom \u003cem>back\u003c/em> to fully immersing herself in the music of the church.\u003c/p>\n\u003cp>“Bridge Over Troubled Water” is, after all, a gateway song — not simply a cover of a gorgeously wrought proclamation of harmony, intimacy and understanding shared between two New York City folkies — but a song that reaches back to a gospel classic which, in turn, draws its inspiration from the Bible.\u003c/p>\n\u003cp>https://youtu.be/lMvFKpqnsWU\u003c/p>\n\u003cp>Listen carefully to the Swan Silvertones’ classic version of “Mary Don’t You Weep,” and one hears the famous line that would inspire Paul Simon to write a song about a bridge as wells as the seeds from Exodus that inspired that line.\u003c/p>\n\u003cp>“Mary Don’t You Weep” gives us the story, from the Gospel of John, of Mary of Bethany, a woman who, along with her sister Martha, mourns over the death of her brother Lazarus. When Jesus arrives at their house, he meets with both sisters. Before raising their brother to new life, he instructs Martha to draw on hope and faith. To Mary he offers added counsel and addresses her tears: “When Jesus saw her weeping, and the Jews who had come along with her also weeping, he was deeply moved in spirit and troubled.”\u003c/p>\n\u003cp>So sing the Swan Silvertones: \u003cem>“Oh Mary don’t you weep. Tell Martha not to moan.”\u003c/em>\u003c/p>\n\u003cp>“Mary Don’t You Weep” started out as a Negro spiritual, entrusted in the 20th century to the likes of the Fisk Jubilee Singers to deliver the Good Word to the segregated masses, and it is a song that has subsequently been picked up by artists as varied as Pete Seeger, Nat King Cole, Bruce Springsteen, Aaron Neville and Take 6 throughout the 20th century .\u003c/p>\n\u003cp>As Aaron Cohen points out in his book on Aretha’s \u003cem>Amazing Grace\u003c/em>, the version that would seemingly have the most overt impact on her is the 1958 recording \u003ca href=\"https://www.youtube.com/watch?v=c5UDBf9Q2bc\">by The Caravans\u003c/a>, the phenomenally influential gospel group of the ’50s and ’60s, founded by Albertine Walker and a launching pad for a run of future superstars of the genre: Shirley Caesar, James Cleveland and Inez Andrews to name but a few.\u003c/p>\n\u003cp>But the Swan Silvertones’ version from 1959 is the only one that features the marvelous lead singer Claude Jeter’s forthright interpolation: “I’ll be a bridge over deep water if you trust in my name.” It was a line that would stick with Paul Simon and one with roots to the greatest escape tale of all time.\u003c/p>\n\u003cp>Sings Jeter, \u003cem>“Pharoah’s Army got drowned in the sea, but Jesus said Mary, your little sister Martha don’t have to moan …. Now can I get a witness.”\u003c/em>\u003c/p>\n\u003cp>The Swan Silvertones version of “Mary Don’t You Weep” folds into its musical story the narrative of Exodus, one of the most famous passages in all of the Bible — when Moses, led by the Lord, saw the Israelites out of slavery in Egypt.\u003c/p>\n\u003cp>“Mary Don’t You Weep” bridges this holy miracle into the story of Jesus raising Lazarus from the dead in the Gospel of John. In doing so, it is a song that testifies to the wonder of heavenly power to comfort, to protect and to revive mortal souls.\u003c/p>\n\u003cp>\u003cem>“I’ll be a bridge over deep water if you trust in my name.” \u003c/em>Jeter’s line recalls the second half of the Exodus passage when the Israelites traveled for three days, battling heat and sun, thirsting for water. With their faith tested, as the tale goes, the “people grumbled against Moses, saying, ‘What are we to drink?’ And the Lord turned bitter water into the sweetest of drink, assuring the people that ‘I am the LORD, who heals you.'”\u003c/p>\n\u003cp>Many people remember this passage from Exodus (with or without the Cecil B. DeMille special effects from the \u003cem>Ten Commandments \u003c/em>film) because of the way that it so spectacularly showcases the might and power of the Almighty, bringing the waters of the Red Sea over Pharaoh’s army, turning bitter water into the sweetest of drink.\u003c/p>\n\u003cp>Oft-overlooked yet just as crucial to the Israelites deliverance are the women on hand who witness and musically testify to the extraordinary turn of events in their midst:\u003c/p>\n\u003cblockquote>\u003cp>“Then Miriam the prophetess, Aaron’s sister, took a tambourine in her hand, and all the women followed her, with tambourines and dancing. Miriam sang to them: ‘Sing to the LORD, for he is highly exalted. The horse and its rider he has hurled into the sea.'”\u003c/p>\u003c/blockquote>\n\u003cp>Like a bridge, Miriam and the women repeat in song this hallowed flight to freedom. With a “joyful noise,” their voices reanimate the “rock on which Moses stood” to “lead the Hebrew children through.” They are the ones who, like those sisters at the close of Toni Morrison’s \u003cem>Beloved\u003c/em>, “buil[d] voice upon voice until they found it, and when they did it was a wave of sound wide enough to sound deep water and knock the pods off chestnut trees.”\u003c/p>\n\u003cp>We might think of how Aretha picks up the frequency of Claude Jeter singing “I’ll be your bridge over deep water if you trust my name,” so crystal clear that Paul Simon can hear his truth. And it’s she who can hear Miriam and the women’s truth as well as they amplify it, sustain it, make it manifest using “the right combination, the key, the code….”\u003c/p>\n\u003cp>Aretha the code breaker sings through this history, and she also ultimately re-centers that history in a legacy of black women’s agency and conviction.\u003c/p>\n\u003cp>As Cohen reminds, it is Inez Andrews’ “bluesy vamp and original sermonette about Lazarus rising from the tune” in The Caravans’ version of “Mary Don’t You Weep” that Aretha would potently bring to life during the historic \u003cem>Grace\u003c/em> recordings at New Temple Missionary Baptist Church, some nine months after her Fillmore concerts. In that epic, earth-shaking performance, we hear the voice of a black woman actively folding together into one the sacred, secular and sonic histories of the black radical tradition and reminding us of the woman-centered foundations of that tradition. On “Mary,” Aretha follows the road that she’d set for herself on a bridge and carries the congregation through the storm.\u003c/p>\n\u003cp>https://youtu.be/KA84TNAGWJM\u003c/p>\n\u003cp>This is paradigmatic soul at the apex of masterful storytelling. Worth recognizing then, that if in soul performance the very of-this-earth James Brown would make famous the line “take it to the bridge” — an emphatic way of egging his band on and signaling his own virtuosic ability to carry a song from the verse to the chorus to the climax — if in these moments James Brown was announcing his gift of stamina, fierce performative determination, improvisation, and ingenuity, we hear all of this on Aretha Franklin’s \u003cem>Amazing Grace\u003c/em> as well.\u003c/p>\n\u003cp>In Aretha’s stunning performance of “Mary,” alone, we hear Motor City black Baptist royalty meeting New York City Jewish folkie Simon, and we hear Simon meeting Kentucky-born coal miner turned gospel great Jeter. We hear her carrying both men back to Alabama gospel role model Inez Andrews in song, melding together the spiritual and the worldly, Old and New Testament tales of perseverance and faith. We hear her responding to the call made by Miriam, summoning those old school Biblical women’s sonic circuits of energy, and channeling and translating Inez and Paul and Claude.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“I’ll be your bridge over deep water if you trust my name.”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>The larger lesson for me in that tiny verse in \u003cem>Exodus\u003c/em> and its various rippling echoes in The Caravans and the Swan Silvertones’ versions of “Mary,” rolling on through Aretha’s “Bridge” and on into her own \u003cem>Amazing Grace\u003c/em> performance is that Aretha Franklin is calling out to us to respond and bear witness to the foundations of her soul music revolution. Her music will forever hold the potential to bring the richest array of peoples together in a kind of humanist collectivity that, at its core, celebrates the sound of black womanhood as a site for radical social, spiritual and philosophical possibilities.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>No time like now to take that bridge once more.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Aretha%27s+Bridge&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"Amidst an instantly historic performance in 1971 that led to one of her best-known albums, Aretha Franklin's rendition of a single song carries inside it the weight of pop, soul and gospel history.","status":"publish","parent":0,"modified":1705026808,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":35,"wordCount":2559},"headData":{"title":"Aretha's Bridge | KQED","description":"Amidst an instantly historic performance in 1971 that led to one of her best-known albums, Aretha Franklin's rendition of a single song carries inside it the weight of pop, soul and gospel history.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Aretha's Bridge","datePublished":"2019-01-01T19:06:20.000Z","dateModified":"2024-01-12T02:33:28.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Robert Altman","nprByline":"Daphne A. Brooks","nprImageAgency":"Getty Images","nprStoryId":"639644891","nprApiLink":"http://api.npr.org/query?id=639644891&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2018/08/18/639644891/arethas-bridge?ft=nprml&f=639644891","nprRetrievedStory":"1","nprPubDate":"Sat, 18 Aug 2018 15:29:00 -0400","nprStoryDate":"Sat, 18 Aug 2018 15:27:00 -0400","nprLastModifiedDate":"Sat, 18 Aug 2018 15:29:00 -0400","path":"/arts/13847920/arethas-bridge","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If one way of understanding gospel music is to trace its emergence in the midst of the African-American Great Migration — from south to north, from rural areas to urban regions, from agrarian culture to industrialization, then so too can we hear Aretha Franklin traveling miles and miles in her luminous cover of Simon and Garfunkel’s “Bridge Over Troubled Water.” With each magnetic pass that she took through this song, we can hear Queen Re mediating the gospel space between traditional spirituals and blues-inflected musicality, bringing the Holy sounds of her Baptist upbringing closer to the secularized lyrics of folk hero Paul Simon.\u003c/p>\n\u003cp>In her extraordinary live performances of this track which she first performed on the Grammys telecast in 1971, Aretha Franklin \u003cem>becomes\u003c/em> a bridge, phantasmagorically elasticizing the wondrous instrument that is her vocal body across musical genres — soul, gospel, folk. Most remarkable was how she drew out the deep spiritual grooves of Simon’s “Bridge” in March of that year at concert promoter Bill Graham’s Fillmore West, a rock and roll palace where Hendrix’s psychedelia and Grateful Dead jam band bacchanalia had been flourishing since 1968. Resplendent in her flowing, earth-toned gown and a supremely Haight-Ashbury slouchy hat, she took a seat at the piano and became the first African-American woman artist to headline a concert event at the venue, home of the “long hairs” as some would refer to it.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The journey that Aretha takes us on this song is one in which she wraps her arms around an ode to deeply enduring friendship and solidarity in times of trial. This was a moment too in which she also tapped into the traces of songwriter Paul Simon’s love of gospel greats the Swan Silvertones and their own re-reading of the spiritual “Mary Don’t You Weep,” itself a tune that folds together Old and New Testament tales of exodus and re-birth. It was a tale she surely knew well, as the daughter of legendary preacher C.L. Franklin, and she invoked all that knowledge to mine the “Bridge” for its many cultural and spiritual resonances. Along the way, just as she did with Otis Redding’s “Respect,” she made it all her own.\u003c/p>\n\u003cp>Like fellow Detroiter Diana Ross, Aretha makes a bid to “reach out and touch somebody’s hand” across an ocean of ardent, colorful tie-dye clad fans. And in doing so, those Fillmore West performances — released just a few months later as her second live album — became instantly historic in that they assert the multiracial and cross-gender possibilities of early 1970s rock and roll counterculture that so often went unrealized. As she stretches herself out in the lyrics of the song, the Queen laid the ground for making deep well statements about the politics of trust and coalition building in the face of historical uncertainty, as black liberation changed its pace and tenor, as the anti-war effort grew evermore dire.\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>Over three sold out nights, Aretha Franklin would play in the round with King Curtis and the Kingpins, one of the tightest rhythm sections other than James Brown’s JBs, setting off each evening on her own distinct version of Simon and Garfunkel’s “Bridge Over Troubled Water,” a song that marked what turned out to be a crucial period of her transformation as a musician.\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/7IExZv-mgrw'\n title='//www.youtube.com/embed/7IExZv-mgrw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Go ahead ‘Retha!” The adoring crowd embraces Aretha the vocalist and pianist as she hails her powerhouse band, a group featuring late great Curtis Ousley on saxophone and the convivial Billy Preston sitting in as guest player at the organ. “Play Billy!” Aretha calls out to her fellow musician as her incandescent cover slowly unfolds, as she wades ever so gracefully into still waters that run deep, as she moves gently and yet fearlessly into the center of Preston’s thick, bright, atmospheric keyboard universe flanked by her backup singers, the Sweethearts of Soul.\u003c/p>\n\u003cp>Aretha’s vocals radiate with the effulgent heat and the ethereal energy of the gospel tradition as she worries lines, improvises impassioned moans and carefully, elegantly puts to use a thing called the melisma, the artful, spiritually-rooted technique of stringing a series of notes together in one syllable so as to stretch out one’s vocal phrasing.\u003c/p>\n\u003cp>Hanging on words, pulling out phrases and turning them over and over so as to wring them for multiple meanings, Aretha here lets us know, without breaking a sweat, that she is still the innovator who birthed a brand of soul music that made spectacularly audible existential and spiritual self-discovery and affirmation, all at the site of her virtuosic vocalization. The philosophical intelligence of her musical phrasing and narrative interpretation set a new standard of excellence in pop music.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“When you’re down and out / When you look up and see yourself on the street / When evening falls so hard / I’ll be there to comfort you / I’ll take your part / I’ll take it when darkness comes / And there’s no one you love around.”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>Aretha the conduit. Aretha the medium. Aretha the surrogate figure for the masses. She was, especially at this point in her career, between 1971-1973 (called by critics, her “artistically mature period”), a kind of performer who was able to “shap[e] her intimacies with the skill of a dramatist,” as Ann Powers has beautifully put it. Like a great “method actor” who slips into the specific landscape of a particular song to fully inhabit it, Aretha both disappears into the emotional terrain of her “bridge” and unveils a protagonist who expresses herself in the most intense emotive registers.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“Don’t trouble the water… Why don’t ya just let it be”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>Yes, there are rumors that Simon wrote “Bridge Over Troubled Water” “for Aretha” or “with Aretha in mind.” All speculation, but certainly we can hear the ways that the song would operate as a crossroads in her career, a prescient recording that would forecast her historic transition, her own personal and professional bridge from pop superstardom \u003cem>back\u003c/em> to fully immersing herself in the music of the church.\u003c/p>\n\u003cp>“Bridge Over Troubled Water” is, after all, a gateway song — not simply a cover of a gorgeously wrought proclamation of harmony, intimacy and understanding shared between two New York City folkies — but a song that reaches back to a gospel classic which, in turn, draws its inspiration from the Bible.\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/lMvFKpqnsWU'\n title='//www.youtube.com/embed/lMvFKpqnsWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Listen carefully to the Swan Silvertones’ classic version of “Mary Don’t You Weep,” and one hears the famous line that would inspire Paul Simon to write a song about a bridge as wells as the seeds from Exodus that inspired that line.\u003c/p>\n\u003cp>“Mary Don’t You Weep” gives us the story, from the Gospel of John, of Mary of Bethany, a woman who, along with her sister Martha, mourns over the death of her brother Lazarus. When Jesus arrives at their house, he meets with both sisters. Before raising their brother to new life, he instructs Martha to draw on hope and faith. To Mary he offers added counsel and addresses her tears: “When Jesus saw her weeping, and the Jews who had come along with her also weeping, he was deeply moved in spirit and troubled.”\u003c/p>\n\u003cp>So sing the Swan Silvertones: \u003cem>“Oh Mary don’t you weep. Tell Martha not to moan.”\u003c/em>\u003c/p>\n\u003cp>“Mary Don’t You Weep” started out as a Negro spiritual, entrusted in the 20th century to the likes of the Fisk Jubilee Singers to deliver the Good Word to the segregated masses, and it is a song that has subsequently been picked up by artists as varied as Pete Seeger, Nat King Cole, Bruce Springsteen, Aaron Neville and Take 6 throughout the 20th century .\u003c/p>\n\u003cp>As Aaron Cohen points out in his book on Aretha’s \u003cem>Amazing Grace\u003c/em>, the version that would seemingly have the most overt impact on her is the 1958 recording \u003ca href=\"https://www.youtube.com/watch?v=c5UDBf9Q2bc\">by The Caravans\u003c/a>, the phenomenally influential gospel group of the ’50s and ’60s, founded by Albertine Walker and a launching pad for a run of future superstars of the genre: Shirley Caesar, James Cleveland and Inez Andrews to name but a few.\u003c/p>\n\u003cp>But the Swan Silvertones’ version from 1959 is the only one that features the marvelous lead singer Claude Jeter’s forthright interpolation: “I’ll be a bridge over deep water if you trust in my name.” It was a line that would stick with Paul Simon and one with roots to the greatest escape tale of all time.\u003c/p>\n\u003cp>Sings Jeter, \u003cem>“Pharoah’s Army got drowned in the sea, but Jesus said Mary, your little sister Martha don’t have to moan …. Now can I get a witness.”\u003c/em>\u003c/p>\n\u003cp>The Swan Silvertones version of “Mary Don’t You Weep” folds into its musical story the narrative of Exodus, one of the most famous passages in all of the Bible — when Moses, led by the Lord, saw the Israelites out of slavery in Egypt.\u003c/p>\n\u003cp>“Mary Don’t You Weep” bridges this holy miracle into the story of Jesus raising Lazarus from the dead in the Gospel of John. In doing so, it is a song that testifies to the wonder of heavenly power to comfort, to protect and to revive mortal souls.\u003c/p>\n\u003cp>\u003cem>“I’ll be a bridge over deep water if you trust in my name.” \u003c/em>Jeter’s line recalls the second half of the Exodus passage when the Israelites traveled for three days, battling heat and sun, thirsting for water. With their faith tested, as the tale goes, the “people grumbled against Moses, saying, ‘What are we to drink?’ And the Lord turned bitter water into the sweetest of drink, assuring the people that ‘I am the LORD, who heals you.'”\u003c/p>\n\u003cp>Many people remember this passage from Exodus (with or without the Cecil B. DeMille special effects from the \u003cem>Ten Commandments \u003c/em>film) because of the way that it so spectacularly showcases the might and power of the Almighty, bringing the waters of the Red Sea over Pharaoh’s army, turning bitter water into the sweetest of drink.\u003c/p>\n\u003cp>Oft-overlooked yet just as crucial to the Israelites deliverance are the women on hand who witness and musically testify to the extraordinary turn of events in their midst:\u003c/p>\n\u003cblockquote>\u003cp>“Then Miriam the prophetess, Aaron’s sister, took a tambourine in her hand, and all the women followed her, with tambourines and dancing. Miriam sang to them: ‘Sing to the LORD, for he is highly exalted. The horse and its rider he has hurled into the sea.'”\u003c/p>\u003c/blockquote>\n\u003cp>Like a bridge, Miriam and the women repeat in song this hallowed flight to freedom. With a “joyful noise,” their voices reanimate the “rock on which Moses stood” to “lead the Hebrew children through.” They are the ones who, like those sisters at the close of Toni Morrison’s \u003cem>Beloved\u003c/em>, “buil[d] voice upon voice until they found it, and when they did it was a wave of sound wide enough to sound deep water and knock the pods off chestnut trees.”\u003c/p>\n\u003cp>We might think of how Aretha picks up the frequency of Claude Jeter singing “I’ll be your bridge over deep water if you trust my name,” so crystal clear that Paul Simon can hear his truth. And it’s she who can hear Miriam and the women’s truth as well as they amplify it, sustain it, make it manifest using “the right combination, the key, the code….”\u003c/p>\n\u003cp>Aretha the code breaker sings through this history, and she also ultimately re-centers that history in a legacy of black women’s agency and conviction.\u003c/p>\n\u003cp>As Cohen reminds, it is Inez Andrews’ “bluesy vamp and original sermonette about Lazarus rising from the tune” in The Caravans’ version of “Mary Don’t You Weep” that Aretha would potently bring to life during the historic \u003cem>Grace\u003c/em> recordings at New Temple Missionary Baptist Church, some nine months after her Fillmore concerts. In that epic, earth-shaking performance, we hear the voice of a black woman actively folding together into one the sacred, secular and sonic histories of the black radical tradition and reminding us of the woman-centered foundations of that tradition. On “Mary,” Aretha follows the road that she’d set for herself on a bridge and carries the congregation through the storm.\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/KA84TNAGWJM'\n title='//www.youtube.com/embed/KA84TNAGWJM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is paradigmatic soul at the apex of masterful storytelling. Worth recognizing then, that if in soul performance the very of-this-earth James Brown would make famous the line “take it to the bridge” — an emphatic way of egging his band on and signaling his own virtuosic ability to carry a song from the verse to the chorus to the climax — if in these moments James Brown was announcing his gift of stamina, fierce performative determination, improvisation, and ingenuity, we hear all of this on Aretha Franklin’s \u003cem>Amazing Grace\u003c/em> as well.\u003c/p>\n\u003cp>In Aretha’s stunning performance of “Mary,” alone, we hear Motor City black Baptist royalty meeting New York City Jewish folkie Simon, and we hear Simon meeting Kentucky-born coal miner turned gospel great Jeter. We hear her carrying both men back to Alabama gospel role model Inez Andrews in song, melding together the spiritual and the worldly, Old and New Testament tales of perseverance and faith. We hear her responding to the call made by Miriam, summoning those old school Biblical women’s sonic circuits of energy, and channeling and translating Inez and Paul and Claude.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“I’ll be your bridge over deep water if you trust my name.”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>The larger lesson for me in that tiny verse in \u003cem>Exodus\u003c/em> and its various rippling echoes in The Caravans and the Swan Silvertones’ versions of “Mary,” rolling on through Aretha’s “Bridge” and on into her own \u003cem>Amazing Grace\u003c/em> performance is that Aretha Franklin is calling out to us to respond and bear witness to the foundations of her soul music revolution. Her music will forever hold the potential to bring the richest array of peoples together in a kind of humanist collectivity that, at its core, celebrates the sound of black womanhood as a site for radical social, spiritual and philosophical possibilities.\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>No time like now to take that bridge once more.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Aretha%27s+Bridge&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13847920/arethas-bridge","authors":["byline_arts_13847920"],"categories":["arts_835","arts_69","arts_1564"],"tags":["arts_5470","arts_1806","arts_3277","arts_596","arts_956","arts_6332","arts_2996"],"affiliates":["arts_137"],"featImg":"arts_13847921","label":"arts_137"},"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_13834489":{"type":"posts","id":"arts_13834489","meta":{"index":"posts_1591205157","site":"arts","id":"13834489","score":null,"sort":[1528754425000]},"guestAuthors":[],"slug":"revered-jazz-drummer-brian-blade-the-fellowship","title":"Revered Drummer Brian Blade Draws a Through-Line from Jazz to Gospel","publishDate":1528754425,"format":"standard","headTitle":"Revered Drummer Brian Blade Draws a Through-Line from Jazz to Gospel | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Thanks to his greatest mentor, Brian Blade has learned to never stop exploring.\u003c/p>\n\u003cp>As he tells KQED Arts over the phone from his home in Shreveport, Louisiana, that man is his father, Brady L. Blade, Sr., who’s been pastor at Zion Baptist Church in his hometown for more than 50 years.\u003c/p>\n\u003cp>“He’s been reading the same Scriptures for 75 years now, and he’s still digging,” he emphasizes, slowing his phrasing to carefully tend to each syllable, “still looking to share this parable in another way to make it resonate with someone who’s there listening.”\u003c/p>\n\u003cp>“I carry that with me,” he says. “I hope that I have just a bit of his dedication.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oanAeie_Tag\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Blade is likely best known for his role supporting saxophone legend Wayne Shorter in his current quartet, a post he’s held for the past 17 years. Shorter’s band is revered in the jazz realm for their near-telepathic connection to one another, building to electric crescendos from a blank musical slate. But this week, when he appears at SFJAZZ’s Miner Auditorium as part of the \u003ca href=\"https://www.sfjazz.org/calendar/?month=6.2018\" target=\"_blank\" rel=\"noopener\">36th annual San Francisco Jazz Festival\u003c/a>, Blade presents a more folkloric side of his musical mind.\u003c/p>\n\u003cp>On June 12, Blade leads the Fellowship, a group he fronts with composer and pianist Jon Cowherd, with whom he started writing music at Loyola University in 1988. The ensemble also features Myron Walden on alto saxophone and bass clarinet, Melvin Butler on soprano and tenor saxophones, Chris Thomas on bass and Kurt Rosenwinkel on guitar. The Fellowship’s career spans two decades and five gorgeous gospel-infused albums, each one a celebration of, and testament to, the deep sense of unity and intention that marks the Fellowship’s approach.\u003c/p>\n\u003cp>Compared to the tightly-wound tension and release present in his work with Shorter, which at times can build to a \u003ca href=\"https://www.youtube.com/watch?v=kJx0fryrcUo\">violent, cathartic intensity\u003c/a>, Blade’s music with the Fellowship may feel subdued. But this is by choice—their focus as an ensemble has long been cultivating a synchronized collective performance as opposed to highlighting virtuoso soloists, an outgrowth of what Blade refers to as a “fraternal unity” within the group.\u003c/p>\n\u003cp>“One of the many things I love about the band and our collective voice is that we all have reverence for the pure melodic content of a song, of storytelling, of that simplicity,” Blade shares. “It takes a great discipline and focus and submission to find your part, even if that part means not playing.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6qwv2f5m0xM\u003c/p>\n\u003cp>Before the group’s self-titled debut in 1998, Blade was well on his way toward building a highly successful career as a session musician, drumming on tour and in the studio with jazz’s rising talents and even some icons of rock and roots music. By that time, he had already worked with Bob Dylan, Emmylou Harris and Joshua Redman, and had just started collaborating with Joni Mitchell, one of his musical heroes. Yet he says he still felt an “unction,” an incessant desire to share his own musical voice with the world.\u003c/p>\n\u003cp>There’s an ecstatic revelation to the Fellowship’s music, and a depth that emerges in time from what, on the surface, sounds simple. Blade admits that jazz may be the pronounced through-line in the music, but the sonic textures also reveal shades of country, folk and gospel, the latter a natural outgrowth from his formative years playing drums in Zion Baptist’s worship band.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Take the three versions of the title track of the group’s latest, \u003cem>Body and Shadow\u003c/em>, released late last year. Demarcated by time—morning, noon and night—the underlying melody may sound similar in all three versions, but the essence is quite different in each short, impressionistic take. Blade likens the approach to staring out the same window as the day passes, an act that seems static until one examines the changes in their surroundings. “You realize we’re turning on this axis,” he says. “We’re in this massive universe and things are moving and we don’t even perceive it necessarily.” \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Similarly, there are two versions of the spiritual “Have Thine Own Way, Lord,” with Cowherd’s solo performance on harmonium providing a bittersweet reading that turns triumphant in the full band’s hands.\u003c/span>\u003c/p>\n\u003cp>With each subsequent project, the Fellowship seems more content to explore the nuances of a composition rather than continually revisit the “improvisation chasm” present in instrumental jazz, when a soloist steps into the spotlight to improvise while the rest of the band follows their musical lead. There’s a definite power present in their restraint.\u003c/p>\n\u003cp>“Obviously, the improvisation chasm that we can all step into is also something I love, but at the same time, I love striking the balance between playing what you want and playing what’s there, and only that,” says Blade.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w26SF8kwEKg\u003c/p>\n\u003cp>Dedication comes up plenty in interviews with Blade, albeit in a selfless sense. He speaks of notions like surrendering to the moment, or finding the best avenue to “serve the song” in a given musical context. It’s a mindset he soaked up during those early days in church ensemble from people like organist Colette Murdoc, music director Donnell Hickman and his older brother Brady, Jr., whose drum seat Brian stepped into at age 13.\u003c/p>\n\u003cp>“They gave it all, so perfectly and beautifully and powerfully, to the worship, to the praise and to the music that they were responsible for. Anything less would be—” he trails off, catching himself with a playful laugh. “How can you not give it all? How can you not actually feel good about that?”\u003c/p>\n\u003cp>Blade’s followed their example quite well in the years since. It’s rare to see him playing without a grin on his face, no matter the musical context.\u003c/p>\n\u003cfigure id=\"attachment_13834496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834496\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-800x500.jpg\" alt=\"Brian Blade and the Fellowship perform at SFJAZZ in 2016.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian Blade and the Fellowship perform at SFJAZZ in 2016. \u003ccite>(Grason Littles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked if the rest of the Fellowship feels a similar same sense of purpose and musical responsibility when performing, he says, “I think so. I would hope so. I feel like each of us individually has our own sort of desire in life, like you feel this calling to do what we’re doing, and the desire to not take that lightly but to cultivate and make it so that that oneness is revealed in the sound.\u003c/p>\n\u003cp>“When there’s that sort of sharing, and singular mindedness when it comes to being a part of a group, then I think the music can really become that cosmic healing chemical,” he adds. “Then the alchemy is like ‘Oh, yeah. This is medicine. This is what we needed.'”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Brian Blade and the Fellowship perform Tuesday, June 12, at the SFJAZZ Center. \u003ca href=\"https://www.sfjazz.org/tickets/productions/brian-blade-fellowship/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"With his ensemble, The Fellowship Band, Blade performs at SFJAZZ on June 12. ","status":"publish","parent":0,"modified":1705027661,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1214},"headData":{"title":"Revered Drummer Brian Blade Draws a Through-Line from Jazz to Gospel | KQED","description":"With his ensemble, The Fellowship Band, Blade performs at SFJAZZ on June 12. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Revered Drummer Brian Blade Draws a Through-Line from Jazz to Gospel","datePublished":"2018-06-11T22:00:25.000Z","dateModified":"2024-01-12T02:47:41.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13834489/revered-jazz-drummer-brian-blade-the-fellowship","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thanks to his greatest mentor, Brian Blade has learned to never stop exploring.\u003c/p>\n\u003cp>As he tells KQED Arts over the phone from his home in Shreveport, Louisiana, that man is his father, Brady L. Blade, Sr., who’s been pastor at Zion Baptist Church in his hometown for more than 50 years.\u003c/p>\n\u003cp>“He’s been reading the same Scriptures for 75 years now, and he’s still digging,” he emphasizes, slowing his phrasing to carefully tend to each syllable, “still looking to share this parable in another way to make it resonate with someone who’s there listening.”\u003c/p>\n\u003cp>“I carry that with me,” he says. “I hope that I have just a bit of his dedication.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oanAeie_Tag'\n title='//www.youtube.com/embed/oanAeie_Tag'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","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>Blade is likely best known for his role supporting saxophone legend Wayne Shorter in his current quartet, a post he’s held for the past 17 years. Shorter’s band is revered in the jazz realm for their near-telepathic connection to one another, building to electric crescendos from a blank musical slate. But this week, when he appears at SFJAZZ’s Miner Auditorium as part of the \u003ca href=\"https://www.sfjazz.org/calendar/?month=6.2018\" target=\"_blank\" rel=\"noopener\">36th annual San Francisco Jazz Festival\u003c/a>, Blade presents a more folkloric side of his musical mind.\u003c/p>\n\u003cp>On June 12, Blade leads the Fellowship, a group he fronts with composer and pianist Jon Cowherd, with whom he started writing music at Loyola University in 1988. The ensemble also features Myron Walden on alto saxophone and bass clarinet, Melvin Butler on soprano and tenor saxophones, Chris Thomas on bass and Kurt Rosenwinkel on guitar. The Fellowship’s career spans two decades and five gorgeous gospel-infused albums, each one a celebration of, and testament to, the deep sense of unity and intention that marks the Fellowship’s approach.\u003c/p>\n\u003cp>Compared to the tightly-wound tension and release present in his work with Shorter, which at times can build to a \u003ca href=\"https://www.youtube.com/watch?v=kJx0fryrcUo\">violent, cathartic intensity\u003c/a>, Blade’s music with the Fellowship may feel subdued. But this is by choice—their focus as an ensemble has long been cultivating a synchronized collective performance as opposed to highlighting virtuoso soloists, an outgrowth of what Blade refers to as a “fraternal unity” within the group.\u003c/p>\n\u003cp>“One of the many things I love about the band and our collective voice is that we all have reverence for the pure melodic content of a song, of storytelling, of that simplicity,” Blade shares. “It takes a great discipline and focus and submission to find your part, even if that part means not playing.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6qwv2f5m0xM'\n title='//www.youtube.com/embed/6qwv2f5m0xM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before the group’s self-titled debut in 1998, Blade was well on his way toward building a highly successful career as a session musician, drumming on tour and in the studio with jazz’s rising talents and even some icons of rock and roots music. By that time, he had already worked with Bob Dylan, Emmylou Harris and Joshua Redman, and had just started collaborating with Joni Mitchell, one of his musical heroes. Yet he says he still felt an “unction,” an incessant desire to share his own musical voice with the world.\u003c/p>\n\u003cp>There’s an ecstatic revelation to the Fellowship’s music, and a depth that emerges in time from what, on the surface, sounds simple. Blade admits that jazz may be the pronounced through-line in the music, but the sonic textures also reveal shades of country, folk and gospel, the latter a natural outgrowth from his formative years playing drums in Zion Baptist’s worship band.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Take the three versions of the title track of the group’s latest, \u003cem>Body and Shadow\u003c/em>, released late last year. Demarcated by time—morning, noon and night—the underlying melody may sound similar in all three versions, but the essence is quite different in each short, impressionistic take. Blade likens the approach to staring out the same window as the day passes, an act that seems static until one examines the changes in their surroundings. “You realize we’re turning on this axis,” he says. “We’re in this massive universe and things are moving and we don’t even perceive it necessarily.” \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Similarly, there are two versions of the spiritual “Have Thine Own Way, Lord,” with Cowherd’s solo performance on harmonium providing a bittersweet reading that turns triumphant in the full band’s hands.\u003c/span>\u003c/p>\n\u003cp>With each subsequent project, the Fellowship seems more content to explore the nuances of a composition rather than continually revisit the “improvisation chasm” present in instrumental jazz, when a soloist steps into the spotlight to improvise while the rest of the band follows their musical lead. There’s a definite power present in their restraint.\u003c/p>\n\u003cp>“Obviously, the improvisation chasm that we can all step into is also something I love, but at the same time, I love striking the balance between playing what you want and playing what’s there, and only that,” says Blade.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/w26SF8kwEKg'\n title='//www.youtube.com/embed/w26SF8kwEKg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dedication comes up plenty in interviews with Blade, albeit in a selfless sense. He speaks of notions like surrendering to the moment, or finding the best avenue to “serve the song” in a given musical context. It’s a mindset he soaked up during those early days in church ensemble from people like organist Colette Murdoc, music director Donnell Hickman and his older brother Brady, Jr., whose drum seat Brian stepped into at age 13.\u003c/p>\n\u003cp>“They gave it all, so perfectly and beautifully and powerfully, to the worship, to the praise and to the music that they were responsible for. Anything less would be—” he trails off, catching himself with a playful laugh. “How can you not give it all? How can you not actually feel good about that?”\u003c/p>\n\u003cp>Blade’s followed their example quite well in the years since. It’s rare to see him playing without a grin on his face, no matter the musical context.\u003c/p>\n\u003cfigure id=\"attachment_13834496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834496\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-800x500.jpg\" alt=\"Brian Blade and the Fellowship perform at SFJAZZ in 2016.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian Blade and the Fellowship perform at SFJAZZ in 2016. \u003ccite>(Grason Littles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked if the rest of the Fellowship feels a similar same sense of purpose and musical responsibility when performing, he says, “I think so. I would hope so. I feel like each of us individually has our own sort of desire in life, like you feel this calling to do what we’re doing, and the desire to not take that lightly but to cultivate and make it so that that oneness is revealed in the sound.\u003c/p>\n\u003cp>“When there’s that sort of sharing, and singular mindedness when it comes to being a part of a group, then I think the music can really become that cosmic healing chemical,” he adds. “Then the alchemy is like ‘Oh, yeah. This is medicine. This is what we needed.'”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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>Brian Blade and the Fellowship perform Tuesday, June 12, at the SFJAZZ Center. \u003ca href=\"https://www.sfjazz.org/tickets/productions/brian-blade-fellowship/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13834489/revered-jazz-drummer-brian-blade-the-fellowship","authors":["3250"],"categories":["arts_69"],"tags":["arts_1118","arts_3277","arts_1420","arts_596","arts_2048","arts_5096"],"featImg":"arts_13834810","label":"arts"},"arts_13834264":{"type":"posts","id":"arts_13834264","meta":{"index":"posts_1591205157","site":"arts","id":"13834264","score":null,"sort":[1528138745000]},"guestAuthors":[],"slug":"clarence-fountain-co-founder-of-blind-boys-of-alabama-dies","title":"Clarence Fountain, Co-Founder of Blind Boys of Alabama, Dies","publishDate":1528138745,"format":"standard","headTitle":"Clarence Fountain, Co-Founder of Blind Boys of Alabama, Dies | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>A founding member of the Grammy-winning gospel group the Blind Boys of Alabama has died. Clarence Fountain was 88.\u003c/p>\n\u003cp>Fountain died Sunday in a hospital in Baton Rouge, Louisiana, where he had been taken Friday, manager Charles Driebe of Atlanta said in an email Monday.\u003c/p>\n\u003cp>The group won four Grammys, a Grammy Lifetime Achievement Award and a National Endowment for the Arts National Heritage Fellowship, and were members of the Gospel Music Hall of Fame.\u003c/p>\n\u003cp>Fountain is survived by his wife, Barbara. The family planned a private viewing Monday at their church, with a public funeral Tuesday at a larger church, which had not yet been chosen, Driebe wrote.\u003c/p>\n\u003cp>Fountain stopped touring with the group in 2007 because of complications from diabetes, but sang on their 2017 album, \u003cem>Almost Home\u003c/em>,”according a statement from Driebe’s Blind Ambition Management. It said the album grew out of the realization that only Fountain, the group’s longtime leader, and its current leader, Jimmy Carter, remained of the original members.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“These men were both raised as blind, African American males in the Deep South during the Jim Crow years, and they were sent to a school where the expectation for them was to one day make brooms or mops for a living,” Driebe said. “But they’ve transcended all that. The arc of their lives and of the band reflects the arc of a lot of changes in American society, and we wanted to find a way to capture their experiences in songs.”\u003c/p>\n\u003cp>Fountain and friends started their first singing group as students at the Alabama Institute for the Negro Deaf and Blind in Talladega, where Fountain was enrolled when he was 8. The Happy Land Jubilee Singers sneaked off campus to sing for soldiers at a nearby training camp.\u003c/p>\n\u003cp>“Buoyed by the praise (and money) they received, the group left the school in 1944 while still in their teens,” Driebe wrote in the news release about Fountain’s death.\u003c/p>\n\u003cp>They were still called the Happy Land Jubilee Singers when they had their first hit single in 1948, “I Can See Everybody’s Mother But Mine.”\u003c/p>\n\u003cp>The name they used for the rest of their careers came from a double billing later in 1948 with another group of blind singers, the Jackson Harmoneers — an event promoted as a battle between the Five Blind Boys of Alabama and the Five Blind Boys of Mississippi.\u003c/p>\n\u003cp>“The crowd loved us, the name stuck, and things took off for us,” Fountain said, as quoted in the news release.\u003cbr>\nAfter a series of concerts with the Jackson Harmoneers, he said, Ray Charles’s manager offered a big touring deal if they would cross over to other genres. “There was no way we were going to go pop or rock,” Fountain said. “Who needed it? Our bellies were full, we had no headaches, we were happy. At least I was happy, singing real gospel.”\u003c/p>\n\u003cp>They signed with Specialty Records in 1953, but left after five years because of more pressure to sing secular music. They sang in 1960s benefits for the Rev. Martin Luther King Jr., and kept singing hard-driving gospel, even as it became less popular.\u003c/p>\n\u003cp>They won national acclaim in 1983 for the Off-Broadway stage production of Gospel at Colonus, an adaptation of Sophocles’ tragedy Oedipus at Colonus set in a black Pentecostal church. Morgan Freeman played young Oedipus, and the Blind Boys sang the part of the blinded Oedipus. The play received two OBIE awards and was nominated for a Pulitzer Prize and a Tony Award.\u003c/p>\n\u003cp>The group’s first Grammy nomination came in 1992, and they won their first Grammy for best traditional gospel album in 2001 with \u003cem>Spirit of the Century\u003c/em>, their first release with Peter Gabriel’s Real World Records.\u003c/p>\n\u003cp>They won Grammys in 2002, 2003 and 2004 for \u003cem>Higher Ground\u003c/em>, \u003cem>Go Tell It on the Mountain\u003c/em> and There Will Be A Light, the last a collaboration with Ben Harper. The lifetime achievement came in 2009. They recorded with artists including Lou Reed, Bonnie Raitt, Tom Waits, k.d.lang, Justin Vernon of Bon Iver, Susan Tedeschi, Aaron Neville and Mavis Staples.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Driebe quoted Fountain: “My theory is do something good in the end and that will close out your longevity. After that, you can go on home and sit down.”\u003c/p>\n\n","blocks":[],"excerpt":"A founding member of the Grammy-winning gospel group, Fountain died Sunday in a hospital in Baton Rouge, Louisiana.","status":"publish","parent":0,"modified":1705027705,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":750},"headData":{"title":"Clarence Fountain, Co-Founder of Blind Boys of Alabama, Dies | KQED","description":"A founding member of the Grammy-winning gospel group, Fountain died Sunday in a hospital in Baton Rouge, Louisiana.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Clarence Fountain, Co-Founder of Blind Boys of Alabama, Dies","datePublished":"2018-06-04T18:59:05.000Z","dateModified":"2024-01-12T02:48:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Associated Press","path":"/arts/13834264/clarence-fountain-co-founder-of-blind-boys-of-alabama-dies","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A founding member of the Grammy-winning gospel group the Blind Boys of Alabama has died. Clarence Fountain was 88.\u003c/p>\n\u003cp>Fountain died Sunday in a hospital in Baton Rouge, Louisiana, where he had been taken Friday, manager Charles Driebe of Atlanta said in an email Monday.\u003c/p>\n\u003cp>The group won four Grammys, a Grammy Lifetime Achievement Award and a National Endowment for the Arts National Heritage Fellowship, and were members of the Gospel Music Hall of Fame.\u003c/p>\n\u003cp>Fountain is survived by his wife, Barbara. The family planned a private viewing Monday at their church, with a public funeral Tuesday at a larger church, which had not yet been chosen, Driebe wrote.\u003c/p>\n\u003cp>Fountain stopped touring with the group in 2007 because of complications from diabetes, but sang on their 2017 album, \u003cem>Almost Home\u003c/em>,”according a statement from Driebe’s Blind Ambition Management. It said the album grew out of the realization that only Fountain, the group’s longtime leader, and its current leader, Jimmy Carter, remained of the original members.\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>“These men were both raised as blind, African American males in the Deep South during the Jim Crow years, and they were sent to a school where the expectation for them was to one day make brooms or mops for a living,” Driebe said. “But they’ve transcended all that. The arc of their lives and of the band reflects the arc of a lot of changes in American society, and we wanted to find a way to capture their experiences in songs.”\u003c/p>\n\u003cp>Fountain and friends started their first singing group as students at the Alabama Institute for the Negro Deaf and Blind in Talladega, where Fountain was enrolled when he was 8. The Happy Land Jubilee Singers sneaked off campus to sing for soldiers at a nearby training camp.\u003c/p>\n\u003cp>“Buoyed by the praise (and money) they received, the group left the school in 1944 while still in their teens,” Driebe wrote in the news release about Fountain’s death.\u003c/p>\n\u003cp>They were still called the Happy Land Jubilee Singers when they had their first hit single in 1948, “I Can See Everybody’s Mother But Mine.”\u003c/p>\n\u003cp>The name they used for the rest of their careers came from a double billing later in 1948 with another group of blind singers, the Jackson Harmoneers — an event promoted as a battle between the Five Blind Boys of Alabama and the Five Blind Boys of Mississippi.\u003c/p>\n\u003cp>“The crowd loved us, the name stuck, and things took off for us,” Fountain said, as quoted in the news release.\u003cbr>\nAfter a series of concerts with the Jackson Harmoneers, he said, Ray Charles’s manager offered a big touring deal if they would cross over to other genres. “There was no way we were going to go pop or rock,” Fountain said. “Who needed it? Our bellies were full, we had no headaches, we were happy. At least I was happy, singing real gospel.”\u003c/p>\n\u003cp>They signed with Specialty Records in 1953, but left after five years because of more pressure to sing secular music. They sang in 1960s benefits for the Rev. Martin Luther King Jr., and kept singing hard-driving gospel, even as it became less popular.\u003c/p>\n\u003cp>They won national acclaim in 1983 for the Off-Broadway stage production of Gospel at Colonus, an adaptation of Sophocles’ tragedy Oedipus at Colonus set in a black Pentecostal church. Morgan Freeman played young Oedipus, and the Blind Boys sang the part of the blinded Oedipus. The play received two OBIE awards and was nominated for a Pulitzer Prize and a Tony Award.\u003c/p>\n\u003cp>The group’s first Grammy nomination came in 1992, and they won their first Grammy for best traditional gospel album in 2001 with \u003cem>Spirit of the Century\u003c/em>, their first release with Peter Gabriel’s Real World Records.\u003c/p>\n\u003cp>They won Grammys in 2002, 2003 and 2004 for \u003cem>Higher Ground\u003c/em>, \u003cem>Go Tell It on the Mountain\u003c/em> and There Will Be A Light, the last a collaboration with Ben Harper. The lifetime achievement came in 2009. They recorded with artists including Lou Reed, Bonnie Raitt, Tom Waits, k.d.lang, Justin Vernon of Bon Iver, Susan Tedeschi, Aaron Neville and Mavis Staples.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Driebe quoted Fountain: “My theory is do something good in the end and that will close out your longevity. After that, you can go on home and sit down.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13834264/clarence-fountain-co-founder-of-blind-boys-of-alabama-dies","authors":["byline_arts_13834264"],"categories":["arts_69","arts_235"],"tags":["arts_3277","arts_596","arts_1091"],"featImg":"arts_13834266","label":"arts"},"arts_13829257":{"type":"posts","id":"arts_13829257","meta":{"index":"posts_1591205157","site":"arts","id":"13829257","score":null,"sort":[1523555968000]},"guestAuthors":[],"slug":"sister-rosetta-tharpe-gets-her-day-in-the-rock-roll-hall-of-fame","title":"Sister Rosetta Tharpe Gets Her Day in the Rock & Roll Hall of Fame","publishDate":1523555968,"format":"standard","headTitle":"Sister Rosetta Tharpe Gets Her Day in the Rock & Roll Hall of Fame | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.npr.org/artists/15783449/sister-rosetta-tharpe\">Sister Rosetta Tharpe\u003c/a>‘s electric gospel sound was crucial in paving the way for rock and roll, and the late singer and guitarist is finally getting her day at the Rock & Roll Hall of Fame in Cleveland. She joins this a class of inductees that includes big-name rock bands like Bon Jovi, Dire Straits and The Cars.\u003c/p>\n\u003cp>Rosetta Tharpe was a huge star in her time. Born in a small town in Arkansas in 1915, she was raised in the Pentecostal church. Tharpe honed her musical talent at tent revivals and churches, but found fame after moving to New York City in the 1930s. Her electric sanctified sound was an overnight sensation in the city’s nightclubs, and secular audiences fell in love with her ecstatic guitar playing.\u003c/p>\n\u003cp>Her fame faded by the 1960s as a new generation of musicians began to expand upon her style. She found new audiences in Europe, but otherwise settled into a quiet life in Philadelphia. Tharpe died in 1973 at the age of 58. Although her name fell into the shadows of history for decades, her influence did not.\u003c/p>\n\u003cp>“She influenced \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis Presley\u003c/a>, she influenced \u003ca href=\"https://www.npr.org/tags/131002081/johnny-cash\">Johnny Cash\u003c/a>, she influenced \u003ca href=\"https://www.npr.org/tags/460345202/little-richard\">Little Richard\u003c/a>,” says Tharpe’s biographer Gayle Wald. “She influenced innumerable other people who we recognize as foundational figures in rock and roll.”\u003c/p>\n\u003cp>Sister Rosetta Tharpe is set to be posthumously inducted into the Rock & Roll Hall of fame on May 5. Gayle Wald says the musician would be tickled by the honor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When people would ask her about her music,” Wald says, “she would say, ‘Oh, these kids and rock and roll — this is just sped up rhythm and blues. I’ve been doing that forever.’ ”\u003c/p>\n\u003cp>Listen to World Cafe’s tribute to Sister Rosetta Tharpe, produced by Alex Lewis for \u003ca href=\"http://xpngospelroots.org/\">WXPN’s Gospel Roots of Rock and Soul project. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gospel Roots of Rock and Soul has been supported by \u003c/em>\u003ca href=\"https://www.pcah.us/\">\u003cem>The Pew Center for Arts & Heritage\u003c/em>\u003c/a>\u003cem>.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 XPN. To see more, visit \u003ca href=\"http://www.xpn.org/\">XPN\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sister+Rosetta+Tharpe+Gets+Her+Day+In+The+Rock+%26+Roll+Hall+Of+Fame&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"The late gospel singer and guitarist will get an overdue recognition for her crucial influence on early rock and roll, joining a class of inductees that includes Bon Jovi, Dire Straits and The Cars.","status":"publish","parent":0,"modified":1705028093,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":353},"headData":{"title":"Sister Rosetta Tharpe Gets Her Day in the Rock & Roll Hall of Fame | KQED","description":"The late gospel singer and guitarist will get an overdue recognition for her crucial influence on early rock and roll, joining a class of inductees that includes Bon Jovi, Dire Straits and The Cars.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Sister Rosetta Tharpe Gets Her Day in the Rock & Roll Hall of Fame","datePublished":"2018-04-12T17:59:28.000Z","dateModified":"2024-01-12T02:54:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Chris Ware","nprByline":"Bruce Warren","nprImageAgency":"Getty Images","nprStoryId":"601808069","nprApiLink":"http://api.npr.org/query?id=601808069&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/sections/world-cafe/2018/04/12/601808069/sister-rosetta-tharpe-gets-her-day-in-the-rock-roll-hall-of-fame?ft=nprml&f=601808069","nprRetrievedStory":"1","nprPubDate":"Thu, 12 Apr 2018 12:08:00 -0400","nprStoryDate":"Thu, 12 Apr 2018 12:08:37 -0400","nprLastModifiedDate":"Thu, 12 Apr 2018 12:08:37 -0400","path":"/arts/13829257/sister-rosetta-tharpe-gets-her-day-in-the-rock-roll-hall-of-fame","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/15783449/sister-rosetta-tharpe\">Sister Rosetta Tharpe\u003c/a>‘s electric gospel sound was crucial in paving the way for rock and roll, and the late singer and guitarist is finally getting her day at the Rock & Roll Hall of Fame in Cleveland. She joins this a class of inductees that includes big-name rock bands like Bon Jovi, Dire Straits and The Cars.\u003c/p>\n\u003cp>Rosetta Tharpe was a huge star in her time. Born in a small town in Arkansas in 1915, she was raised in the Pentecostal church. Tharpe honed her musical talent at tent revivals and churches, but found fame after moving to New York City in the 1930s. Her electric sanctified sound was an overnight sensation in the city’s nightclubs, and secular audiences fell in love with her ecstatic guitar playing.\u003c/p>\n\u003cp>Her fame faded by the 1960s as a new generation of musicians began to expand upon her style. She found new audiences in Europe, but otherwise settled into a quiet life in Philadelphia. Tharpe died in 1973 at the age of 58. Although her name fell into the shadows of history for decades, her influence did not.\u003c/p>\n\u003cp>“She influenced \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis Presley\u003c/a>, she influenced \u003ca href=\"https://www.npr.org/tags/131002081/johnny-cash\">Johnny Cash\u003c/a>, she influenced \u003ca href=\"https://www.npr.org/tags/460345202/little-richard\">Little Richard\u003c/a>,” says Tharpe’s biographer Gayle Wald. “She influenced innumerable other people who we recognize as foundational figures in rock and roll.”\u003c/p>\n\u003cp>Sister Rosetta Tharpe is set to be posthumously inducted into the Rock & Roll Hall of fame on May 5. Gayle Wald says the musician would be tickled by the honor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When people would ask her about her music,” Wald says, “she would say, ‘Oh, these kids and rock and roll — this is just sped up rhythm and blues. I’ve been doing that forever.’ ”\u003c/p>\n\u003cp>Listen to World Cafe’s tribute to Sister Rosetta Tharpe, produced by Alex Lewis for \u003ca href=\"http://xpngospelroots.org/\">WXPN’s Gospel Roots of Rock and Soul project. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gospel Roots of Rock and Soul has been supported by \u003c/em>\u003ca href=\"https://www.pcah.us/\">\u003cem>The Pew Center for Arts & Heritage\u003c/em>\u003c/a>\u003cem>.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 XPN. To see more, visit \u003ca href=\"http://www.xpn.org/\">XPN\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sister+Rosetta+Tharpe+Gets+Her+Day+In+The+Rock+%26+Roll+Hall+Of+Fame&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13829257/sister-rosetta-tharpe-gets-her-day-in-the-rock-roll-hall-of-fame","authors":["byline_arts_13829257"],"categories":["arts_69","arts_235"],"tags":["arts_1448","arts_3277"],"affiliates":["arts_137"],"featImg":"arts_13829258","label":"arts_137"},"arts_13816106":{"type":"posts","id":"arts_13816106","meta":{"index":"posts_1591205157","site":"arts","id":"13816106","score":null,"sort":[1512010211000]},"guestAuthors":[],"slug":"songs-of-praise-and-generosity-from-a-beloved-bay-area-institution","title":"Songs of Praise and Generosity from a Beloved Bay Area Institution","publishDate":1512010211,"format":"standard","headTitle":"Songs of Praise and Generosity from a Beloved Bay Area Institution | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The Oakland Interfaith Gospel Choir’s December concerts are a Bay Area holiday tradition with a lot to say about why we love it here. The choir welcomes people of all faiths, colors and gender to sing the gospel of praise and generosity. The choir just got back from a tour of the South where they joined the San Francisco’s Gay Men’s Chorus for concerts raising money and awareness for LGBTQ equal rights — so these holiday shows should feel like a triumphant homecoming. LeVar Burton, former host of the PBS series \u003cem>Reading Rainbow, \u003c/em>emcees the concert Dec. 2 at the Paramount Theatre in Oakland. They’re also doing two shows with the San Francisco Symphony, one with the Oakland Symphony, another show at the Mountain View Center for the Performing Arts, and capping it off with a Christmas Eve show at Slim’s.\u003ca href=\"http://www.oigc.org/events/?view=calendar&month=December-2017\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i4CEDCg2S8w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"A triumphant homecoming for the Oakland Interfaith Gospel Choir, just back from an LGBTQ tour of the south.","status":"publish","parent":0,"modified":1705029018,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":3,"wordCount":164},"headData":{"title":"Songs of Praise and Generosity from a Beloved Bay Area Institution | KQED","description":"A triumphant homecoming for the Oakland Interfaith Gospel Choir, just back from an LGBTQ tour of the south.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Songs of Praise and Generosity from a Beloved Bay Area Institution","datePublished":"2017-11-30T02:50:11.000Z","dateModified":"2024-01-12T03:10:18.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13816106/songs-of-praise-and-generosity-from-a-beloved-bay-area-institution","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Oakland Interfaith Gospel Choir’s December concerts are a Bay Area holiday tradition with a lot to say about why we love it here. The choir welcomes people of all faiths, colors and gender to sing the gospel of praise and generosity. The choir just got back from a tour of the South where they joined the San Francisco’s Gay Men’s Chorus for concerts raising money and awareness for LGBTQ equal rights — so these holiday shows should feel like a triumphant homecoming. LeVar Burton, former host of the PBS series \u003cem>Reading Rainbow, \u003c/em>emcees the concert Dec. 2 at the Paramount Theatre in Oakland. They’re also doing two shows with the San Francisco Symphony, one with the Oakland Symphony, another show at the Mountain View Center for the Performing Arts, and capping it off with a Christmas Eve show at Slim’s.\u003ca href=\"http://www.oigc.org/events/?view=calendar&month=December-2017\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\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/i4CEDCg2S8w'\n title='//www.youtube.com/embed/i4CEDCg2S8w'\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13816106/songs-of-praise-and-generosity-from-a-beloved-bay-area-institution","authors":["32"],"programs":["arts_140"],"categories":["arts_835","arts_69"],"tags":["arts_3277","arts_6387","arts_2442","arts_3281","arts_2176","arts_3278"],"featImg":"arts_13816118","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us","airtime":"SUN 2pm-3pm, MON 12am-1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png","officialWebsiteLink":"https://www.wnycstudios.org/shows/otm","meta":{"site":"news","source":"wnyc"},"link":"/radio/program/on-the-media","subscribe":{"apple":"https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2","tuneIn":"https://tunein.com/radio/On-the-Media-p69/","rss":"http://feeds.wnyc.org/onthemedia"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"pbs-newshour":{"id":"pbs-newshour","title":"PBS NewsHour","info":"Analysis, background reports and updates from the PBS NewsHour putting today's news in context.","airtime":"MON-FRI 3pm-4pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.pbs.org/newshour/","meta":{"site":"news","source":"pbs"},"link":"/radio/program/pbs-newshour","subscribe":{"apple":"https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2","tuneIn":"https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/","rss":"https://www.pbs.org/newshour/feeds/rss/podcasts/show"}},"perspectives":{"id":"perspectives","title":"Perspectives","tagline":"KQED's series of of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"link":"/perspectives","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/id73801135","npr":"https://www.npr.org/podcasts/432309616/perspectives","rss":"https://ww2.kqed.org/perspectives/category/perspectives/feed/","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"}},"planet-money":{"id":"planet-money","title":"Planet Money","info":"The economy explained. 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The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.","airtime":"SAT 4pm-5pm","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png","officialWebsiteLink":"https://www.revealnews.org/episodes/","meta":{"site":"news","source":"npr"},"link":"/radio/program/reveal","subscribe":{"apple":"https://itunes.apple.com/us/podcast/reveal/id886009669","tuneIn":"https://tunein.com/radio/Reveal-p679597/","rss":"http://feeds.revealradio.org/revealpodcast"}},"says-you":{"id":"says-you","title":"Says You!","info":"Public radio's game show of bluff and bluster, words and whimsy. 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