Best Bets for the 2024 Healdsburg Jazz Festival
The Gospel According to Howard Wiley
Crate Digging With Bay Area Jazz Saxophonist Howard Wiley
'The Healing Project' Asks: How Do We Survive in America? And How Do We Heal?
An All-Star Jazz Lineup Explores the Great Migration in Berkeley
Artists Put the Struggles and Hopes of the Past Year to Music at SJZ New Works Fest
Two Greats’ Posthumous Album Bridges Generations of Bay Area Jazz
Black Power, With a Bay Area Twist, at the de Young Museum
An Overflow of Oakland Culture at the Malcolm X Jazz Arts Festival
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srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Samara Joy will headline an opening weekend concert for the Healdsburg Jazz Festival on June 16 at Kendall-Jackson winery. \u003ccite>(Gabriele Bifolchi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a Sonoma County resident and jazz fan, I’ve gone to the Healdsburg Jazz Festival nearly every year for the past 20 years. When the lineup drops, \u003ca href=\"https://healdsburgjazz.org/schedule/\">like it recently did for the 2024 festival\u003c/a> running June 15–23, I make notated lists of what to see. What follows are my picks for the best shows to see among the formidable lineup.\u003c/p>\n\u003cp>But first: If you’ve heard about the festival but never attended, let me try to tell you what makes it special.\u003c/p>\n\u003cp>Take last year’s free show in the town plaza with Charles McPherson. Where else could farmworkers and wine tourists alike sit in the shade on the grass, listening to an 83-year-old jazz saxophone legend? Or last year’s tribute to Pharoah Sanders, with Gary Bartz and Sanders’ son Tomoki reverently playing “The Creator Has a Master Plan” under the stars and among the vineyards?\u003c/p>\n\u003cp>[aside postID='arts_13953845']Over its history, Healdsburg has hosted up-and-coming talent, like Esperanza Spalding, who played in a restaurant’s backyard at the festival when she was brand-new on the scene. For several years, Santa Rosa-raised guitarist Julian Lage was a local opener at the festival, before he became a \u003ca href=\"https://www.google.com/search?sca_esv=ad9616c29454c2b8&q=julian+lage+magazine+cover&uds=AMwkrPtc7PyXK2WRiJ0T8Fn6QQyoDLDS_R5vB2RasiRzgL7GfSHmnjqxyC_SllFIMWH8gk1rwQ6Ib2VsM5YLrqpNvPIu3UrHbCJssIdIk6CmIbWTReA3P1dLz0uviMFuoVegwY-7e9YqQrTxuDro_w8j5l7wRRsnQg1UAgmdLJZ5nUkMkCSLWpHKBhVHAr5_szKq4HsVi-Lj5Ciosc2qR_oz2wJBBTX5bsmpCAGuadalMXNUOnAxs8gKikCL5iKE_rxuwuifj-__Jzvi7_R0T1HfFOSbBWa9QgNvrAob49MFZgRHehqhrQPcgu6Z0bHrOqGzfZ43IptS&udm=2&prmd=isvnmbtz&sa=X&ved=2ahUKEwjW2ICSpraFAxVSOTQIHQDCDeQQtKgLegQICxAB&biw=1053&bih=537&dpr=2.5\">Blue Note recording artist who graces magazine covers\u003c/a>.\u003c/p>\n\u003cp>And then, naturally, there are the legends. Past years have included Jackie McLean, Ron Carter, Kenny Burrell, Charles Lloyd, Geri Allen, Charlie Haden — the list goes on. In Healdsburg, these artists get the treatment and crowds they deserve, and in an unusually scenic, intimate setting. (I’ll never forget the year I literally bumped into \u003ca href=\"https://en.wikipedia.org/wiki/Andrew_Cyrille\">drummer Andrew Cyrille\u003c/a> in the cramped back kitchen of a coffee shop just off the downtown plaza.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This year, if you want to start easy, there’s the return of the \u003ca href=\"https://www.vbotickets.com/v5.0/event.asp?eid=120753&s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c\">Juneteenth in the Plaza concert\u003c/a> on June 15, this year featuring trombonist Steve Turre with his sextet and soul-jazz saxophone veteran Houston Person. The plaza concerts (hosted by KCSM’s \u003ca href=\"https://www.kqed.org/arts/13930273/liner-notes-greg-bridges-and-the-jazz-voice\">Greg Bridges\u003c/a>) are among my favorites at the festival — they’re completely free, the grass fills up with all types of people, and the music blankets the entire downtown.\u003c/p>\n\u003cfigure id=\"attachment_11662335\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11662335\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_.jpg\" alt=\"Billy Hart at the Healdsburg Jazz Festival, June 4, 2016.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billy Hart at the Healdsburg Jazz Festival, June 4, 2016. \u003ccite>(George B. Wells)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Want to go big? After a sold-out performance at last year’s festival, hot-streak vocalist \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Samara Joy\u003c/a> will headline the festival’s opening weekend with a June 16 show at Kendall-Jackson winery. The cheapest seats are $125, but lawn seating is $35–$55 — and feels more befitting of a winery show, in my opinion.\u003c/p>\n\u003cp>Bacchus Landing’s outdoor courtyard, situated among the vineyards, is a relatively new venue for the festival; though the sun can heat the folding-chair seating, it’s hard to beat the cool open air after sundown. I have my eyes on rising vocalist \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Jazzmeia Horn\u003c/a>, and her performance with festival director Marcus Shelby and his orchestra on June 20.\u003c/p>\n\u003cp>[aside postID='arts_13885595']Also at Bacchus Landing is the remarkable \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Chief Adjuah\u003c/a> (née Christian Scott) in a double bill with \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">The Cookers\u003c/a> (Cecil McBee, George Cables, Billy Hart, Craig Handy, Eddie Henderson, Donald Harrison Jr. and David Weiss) on June 21; the \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Joshua Redman Quartet featuring Gabrielle Cavassa\u003c/a> on June 23; and \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Ambrose Akinmusire, Bill Frisell and Herlin Riley\u003c/a> with opener the \u003ca href=\"https://www.kqed.org/arts/13953845/review-brandee-younger-alice-coltrane-san-francisco-sfjazz\">Brandee Younger\u003c/a> Trio on June 22. Redman \u003ca href=\"https://www.kqed.org/arts/11661739/live-review-creative-risks-pay-off-at-healdsburgs-billy-hart-tribute\">tends to shine in Healdsburg\u003c/a>, and Younger \u003ca href=\"https://www.kqed.org/arts/13953845/review-brandee-younger-alice-coltrane-san-francisco-sfjazz\">blew my mind last month\u003c/a> in San Francisco.\u003c/p>\n\u003cp>Cuban pianist \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Omar Sosa and his Quarteto Americanos\u003c/a> will perform on June 17 at Healdsburg’s venerable Raven Theater, a charming former movie theater built in 1949. And then there’s the small shows scattered all over town. My picks would be \u003ca href=\"https://www.kqed.org/arts/13951290/howard-wiley-gospel-jazz\">Howard Wiley\u003c/a>’s quartet at The Elephant in the Room on June 15, the \u003ca href=\"https://www.vbotickets.com/v5.0/event.asp?eid=120759&s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c\">Jazz Mafia\u003c/a>’s “New Directions in Brass” at Spoonbar on June 19, and a \u003ca href=\"https://www.vbotickets.com/v5.0/event.asp?eid=119630&s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c\">tribute to Duke Ellington with Tiffany Austin\u003c/a> at St. Paul’s Church on June 22.\u003c/p>\n\u003cp>As for food? Other people will be happy to gush about Healdsburg’s world-class dining and wine. I’m more likely to recommend the no-frills \u003ca href=\"https://elsombrerohbg.com/\">El Sombrero\u003c/a> or \u003ca href=\"https://www.flakeycream.com/menu\">Flakey Cream\u003c/a> for lunch, and either Healdsburg’s Goodwill or a Russian River swimming hole for cheap thrills.\u003c/p>\n\u003cp>But for a week in June, at least, we can all agree on the music.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 26th Annual Healdsburg Jazz Festival runs June 15–23, 2024, at various venues in and around Healdsburg. \u003ca href=\"https://healdsburgjazz.org/schedule/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A festival veteran picks this year's top shows, including Samara Joy, Ambrose Akinmusire, Houston Person and more.","status":"publish","parent":0,"modified":1713552007,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":800},"headData":{"title":"Best Bets for the 2024 Healdsburg Jazz Festival | KQED","description":"A festival veteran picks this year's top shows, including Samara Joy, Ambrose Akinmusire, Houston Person and more.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Best Bets for the 2024 Healdsburg Jazz Festival","datePublished":"2024-04-19T18:38:35.000Z","dateModified":"2024-04-19T18:40:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955688/healdsburg-jazz-festival-lineup-2024-samara-joy-joshua-redman-ambrose-akinmusire-brandee-younger","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13955692\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955692\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_.jpg\" alt=\"A black woman in a red dress sings into a microphone while tilting her head upward, eyes closed\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Samara_Joy_3_-_credit__Gabriele_Bifolchi_fratticioli.com_-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Samara Joy will headline an opening weekend concert for the Healdsburg Jazz Festival on June 16 at Kendall-Jackson winery. \u003ccite>(Gabriele Bifolchi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a Sonoma County resident and jazz fan, I’ve gone to the Healdsburg Jazz Festival nearly every year for the past 20 years. When the lineup drops, \u003ca href=\"https://healdsburgjazz.org/schedule/\">like it recently did for the 2024 festival\u003c/a> running June 15–23, I make notated lists of what to see. What follows are my picks for the best shows to see among the formidable lineup.\u003c/p>\n\u003cp>But first: If you’ve heard about the festival but never attended, let me try to tell you what makes it special.\u003c/p>\n\u003cp>Take last year’s free show in the town plaza with Charles McPherson. Where else could farmworkers and wine tourists alike sit in the shade on the grass, listening to an 83-year-old jazz saxophone legend? Or last year’s tribute to Pharoah Sanders, with Gary Bartz and Sanders’ son Tomoki reverently playing “The Creator Has a Master Plan” under the stars and among the vineyards?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953845","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Over its history, Healdsburg has hosted up-and-coming talent, like Esperanza Spalding, who played in a restaurant’s backyard at the festival when she was brand-new on the scene. For several years, Santa Rosa-raised guitarist Julian Lage was a local opener at the festival, before he became a \u003ca href=\"https://www.google.com/search?sca_esv=ad9616c29454c2b8&q=julian+lage+magazine+cover&uds=AMwkrPtc7PyXK2WRiJ0T8Fn6QQyoDLDS_R5vB2RasiRzgL7GfSHmnjqxyC_SllFIMWH8gk1rwQ6Ib2VsM5YLrqpNvPIu3UrHbCJssIdIk6CmIbWTReA3P1dLz0uviMFuoVegwY-7e9YqQrTxuDro_w8j5l7wRRsnQg1UAgmdLJZ5nUkMkCSLWpHKBhVHAr5_szKq4HsVi-Lj5Ciosc2qR_oz2wJBBTX5bsmpCAGuadalMXNUOnAxs8gKikCL5iKE_rxuwuifj-__Jzvi7_R0T1HfFOSbBWa9QgNvrAob49MFZgRHehqhrQPcgu6Z0bHrOqGzfZ43IptS&udm=2&prmd=isvnmbtz&sa=X&ved=2ahUKEwjW2ICSpraFAxVSOTQIHQDCDeQQtKgLegQICxAB&biw=1053&bih=537&dpr=2.5\">Blue Note recording artist who graces magazine covers\u003c/a>.\u003c/p>\n\u003cp>And then, naturally, there are the legends. Past years have included Jackie McLean, Ron Carter, Kenny Burrell, Charles Lloyd, Geri Allen, Charlie Haden — the list goes on. In Healdsburg, these artists get the treatment and crowds they deserve, and in an unusually scenic, intimate setting. (I’ll never forget the year I literally bumped into \u003ca href=\"https://en.wikipedia.org/wiki/Andrew_Cyrille\">drummer Andrew Cyrille\u003c/a> in the cramped back kitchen of a coffee shop just off the downtown plaza.)\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>This year, if you want to start easy, there’s the return of the \u003ca href=\"https://www.vbotickets.com/v5.0/event.asp?eid=120753&s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c\">Juneteenth in the Plaza concert\u003c/a> on June 15, this year featuring trombonist Steve Turre with his sextet and soul-jazz saxophone veteran Houston Person. The plaza concerts (hosted by KCSM’s \u003ca href=\"https://www.kqed.org/arts/13930273/liner-notes-greg-bridges-and-the-jazz-voice\">Greg Bridges\u003c/a>) are among my favorites at the festival — they’re completely free, the grass fills up with all types of people, and the music blankets the entire downtown.\u003c/p>\n\u003cfigure id=\"attachment_11662335\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11662335\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_.jpg\" alt=\"Billy Hart at the Healdsburg Jazz Festival, June 4, 2016.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/HBGJazz.Billy_-960x540.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billy Hart at the Healdsburg Jazz Festival, June 4, 2016. \u003ccite>(George B. Wells)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Want to go big? After a sold-out performance at last year’s festival, hot-streak vocalist \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Samara Joy\u003c/a> will headline the festival’s opening weekend with a June 16 show at Kendall-Jackson winery. The cheapest seats are $125, but lawn seating is $35–$55 — and feels more befitting of a winery show, in my opinion.\u003c/p>\n\u003cp>Bacchus Landing’s outdoor courtyard, situated among the vineyards, is a relatively new venue for the festival; though the sun can heat the folding-chair seating, it’s hard to beat the cool open air after sundown. I have my eyes on rising vocalist \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Jazzmeia Horn\u003c/a>, and her performance with festival director Marcus Shelby and his orchestra on June 20.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13885595","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Also at Bacchus Landing is the remarkable \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Chief Adjuah\u003c/a> (née Christian Scott) in a double bill with \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">The Cookers\u003c/a> (Cecil McBee, George Cables, Billy Hart, Craig Handy, Eddie Henderson, Donald Harrison Jr. and David Weiss) on June 21; the \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Joshua Redman Quartet featuring Gabrielle Cavassa\u003c/a> on June 23; and \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Ambrose Akinmusire, Bill Frisell and Herlin Riley\u003c/a> with opener the \u003ca href=\"https://www.kqed.org/arts/13953845/review-brandee-younger-alice-coltrane-san-francisco-sfjazz\">Brandee Younger\u003c/a> Trio on June 22. Redman \u003ca href=\"https://www.kqed.org/arts/11661739/live-review-creative-risks-pay-off-at-healdsburgs-billy-hart-tribute\">tends to shine in Healdsburg\u003c/a>, and Younger \u003ca href=\"https://www.kqed.org/arts/13953845/review-brandee-younger-alice-coltrane-san-francisco-sfjazz\">blew my mind last month\u003c/a> in San Francisco.\u003c/p>\n\u003cp>Cuban pianist \u003ca href=\"https://www.vbotickets.com/v5.0/seatmap.asp?s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c&a2=\">Omar Sosa and his Quarteto Americanos\u003c/a> will perform on June 17 at Healdsburg’s venerable Raven Theater, a charming former movie theater built in 1949. And then there’s the small shows scattered all over town. My picks would be \u003ca href=\"https://www.kqed.org/arts/13951290/howard-wiley-gospel-jazz\">Howard Wiley\u003c/a>’s quartet at The Elephant in the Room on June 15, the \u003ca href=\"https://www.vbotickets.com/v5.0/event.asp?eid=120759&s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c\">Jazz Mafia\u003c/a>’s “New Directions in Brass” at Spoonbar on June 19, and a \u003ca href=\"https://www.vbotickets.com/v5.0/event.asp?eid=119630&s=ef201ce0-568f-4437-8aa7-6d86afd9ab4c\">tribute to Duke Ellington with Tiffany Austin\u003c/a> at St. Paul’s Church on June 22.\u003c/p>\n\u003cp>As for food? Other people will be happy to gush about Healdsburg’s world-class dining and wine. I’m more likely to recommend the no-frills \u003ca href=\"https://elsombrerohbg.com/\">El Sombrero\u003c/a> or \u003ca href=\"https://www.flakeycream.com/menu\">Flakey Cream\u003c/a> for lunch, and either Healdsburg’s Goodwill or a Russian River swimming hole for cheap thrills.\u003c/p>\n\u003cp>But for a week in June, at least, we can all agree on the music.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 26th Annual Healdsburg Jazz Festival runs June 15–23, 2024, at various venues in and around Healdsburg. \u003ca href=\"https://healdsburgjazz.org/schedule/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955688/healdsburg-jazz-festival-lineup-2024-samara-joy-joshua-redman-ambrose-akinmusire-brandee-younger","authors":["185"],"categories":["arts_1","arts_69"],"tags":["arts_22068","arts_6786","arts_2683","arts_1420","arts_3584","arts_585"],"featImg":"arts_13955695","label":"arts"},"arts_13951290":{"type":"posts","id":"arts_13951290","meta":{"index":"posts_1591205157","site":"arts","id":"13951290","score":null,"sort":[1706733135000]},"guestAuthors":[],"slug":"howard-wiley-gospel-jazz","title":"The Gospel According to Howard Wiley","publishDate":1706733135,"format":"aside","headTitle":"The Gospel According to Howard Wiley | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13951313\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951313\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-scaled.jpg\" alt=\"A Black man in a cap and patterned blue shirt stands with a saxophone, with moving boxes and an organ in the background\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Pictured in his Oakland studio, saxophonist Howard Wiley has been preparing for an upcoming run of gospel shows, titled ‘Saturday Night to Sunday Morning.’ \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some people go to church on Sunday morning. Others make it an all-day activity. Growing up, jazz saxophonist \u003ca href=\"https://www.kqed.org/arts/tag/howard-wiley\">Howard Wiley\u003c/a> attended two different Oakland churches, and used to ditch services to go to \u003cem>another\u003c/em> church.\u003c/p>\n\u003cp>If you know Wiley, the reason is probably obvious. “It was like a jam session!” he says, sitting in his Oakland studio on a recent afternoon. “They are playing music, they are singin’, they are jammin’. So I’d go down there just to hang out and check out the music.”\u003c/p>\n\u003cp>The musical bedrock laid by those childhood Sundays is the foundation of Wiley’s upcoming shows at SFJAZZ, a gospel and jazz hybrid that he’s titled \u003cem>\u003ca href=\"https://www.sfjazz.org/tickets/productions/23-24/howard-wiley/\">Saturday Night to Sunday Morning\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>[aside postID='arts_10957761']Jazz and God have intersected before — famously through John Coltrane’s \u003cem>A Love Supreme\u003c/em>; locally in Duke Ellington’s concert to consecrate Grace Cathedral in San Francisco. Part gospel standards, part originals, Wiley’s show is less an evocation of a genre — gospel music — and more of a summoning of its spirit.\u003c/p>\n\u003cp>“There’s something that just make you, that give you chills, that raise a hair on your arm,” says Wiley, one of five resident artistic directors at SFJAZZ this season. “When that Holy Spirit hit, it’s no denying it. And I hear it in everybody’s music. I hear it in Coltrane’s music. I hear it in Cannonball Adderley’s music. I hear it in James Brown’s music. I hear it when I read James Baldwin.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Those open ears, of the musician-as-receiver, guide Wiley’s omnivorous activity. In the past year, I’ve happened to see him playing raucous Second Line marches with MJ’s BrassBoppers, tender ballads in a duo with longtime collaborator Kev Choice, and angular back-and-forth solos with tenor sax titan David Murray. Every time, the spirit — that goosebumps thing — is present.\u003c/p>\n\u003cfigure id=\"attachment_13951312\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951312\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Jazz saxophonist Howard Wiley rehearses in his Oakland studio. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For one song to be performed this week, “That’s Why We Praise His Holy Name,” Wiley put himself in the music after his faith was tested. During his years of playing at Glide Memorial in the Tenderloin, there was a small child that sat in the front row.\u003c/p>\n\u003cp>“I had found out the baby’s life had been so tried. His mother was incarcerated, his father was incarcerated,” Wiley says. “And I don’t see the baby one week. Next week I see the uncle, I’m like, ‘Hey, man, where’s the baby?’ He’s like, ‘The baby is dead.’ Hurt me to my soul.”\u003c/p>\n\u003cp>That same day, Wiley learned that another acquaintance — “a man of God, a family man who I respected, I knew his family” — had been convicted of molesting children. While wrestling with the fact that God could allow such things to happen, Wiley started writing.\u003c/p>\n\u003cp>“It’s like a conversation with God. It’s like ‘God, how can this happen?’ And then talking to the victim, ‘How can this happen?’ And through God’s light, I found a way that saved my mind and soul. That’s ‘That’s Why We Praise His Holy Name.'”\u003c/p>\n\u003cp>[aside postID='arts_13927947']Wiley’s quintet for \u003cem>Saturday Night to Sunday Morning\u003c/em> includes Damien Sneed, who collaborated with Wynton Marsalis on his Abyssinian Mass, along with Camille Thurman, Amina Scott and Darrell Green. The set’s traditional spirituals run in their blood; all share a language from the church.\u003c/p>\n\u003cp>For Wiley, that language came early, from Star Bethel Missionary Baptist Church and Triumph Church on San Pablo Avenue in Oakland, both founded after Wiley’s family left the south during the Great Migration — and, down the street, the jam sessions at The Church of God in Christ.\u003c/p>\n\u003cp>Wiley rattles off the names of church folk who planted something in him: Pastor Claiborne. Mae Mae on piano. Joe Bumpus on organ. Sister Willie Mae, Mother Scott, and Mother Gray and Papa Gray, who encouraged him. Willie B., who hired him for his first gig. All contribute in their own way to this week’s shows, which Wiley hopes will provide a bit of realignment.\u003c/p>\n\u003cp>“You know, look at all this war. Look at all this famine. Look at all this starvation. Look at our entire world ecosystem, where it’s haves and have-nots. That is not the way of God,” Wiley says.\u003c/p>\n\u003cp>“But this music, it’s just something that does it. Same with Stevie Wonder’s music, or to hear Bach’s music, Beethoven’s music \u003cspan style=\"font-weight: 400\">—\u003c/span> it’s just something that is so pure, it takes you out of this construct that we’re in.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/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/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Howard Wiley’s ‘Saturday Night to Sunday Morning’ runs Saturday and Sunday, Feb. 2 and 3, with four shows at SFJAZZ in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/23-24/howard-wiley/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Raised in the church, the Bay Area jazz saxophonist prepares a show direct from Sunday mass.","status":"publish","parent":0,"modified":1706739608,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":915},"headData":{"title":"Howard Wiley's Gospel Upbringing Fuels New Show at SFJAZZ | KQED","description":"Raised in the church, the Bay Area jazz saxophonist prepares a show direct from Sunday mass.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"Howard Wiley's Gospel Upbringing Fuels New Show at SFJAZZ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Gospel According to Howard Wiley","datePublished":"2024-01-31T20:32:15.000Z","dateModified":"2024-01-31T22:20:08.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13951290/howard-wiley-gospel-jazz","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13951313\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951313\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-scaled.jpg\" alt=\"A Black man in a cap and patterned blue shirt stands with a saxophone, with moving boxes and an organ in the background\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Pictured in his Oakland studio, saxophonist Howard Wiley has been preparing for an upcoming run of gospel shows, titled ‘Saturday Night to Sunday Morning.’ \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some people go to church on Sunday morning. Others make it an all-day activity. Growing up, jazz saxophonist \u003ca href=\"https://www.kqed.org/arts/tag/howard-wiley\">Howard Wiley\u003c/a> attended two different Oakland churches, and used to ditch services to go to \u003cem>another\u003c/em> church.\u003c/p>\n\u003cp>If you know Wiley, the reason is probably obvious. “It was like a jam session!” he says, sitting in his Oakland studio on a recent afternoon. “They are playing music, they are singin’, they are jammin’. So I’d go down there just to hang out and check out the music.”\u003c/p>\n\u003cp>The musical bedrock laid by those childhood Sundays is the foundation of Wiley’s upcoming shows at SFJAZZ, a gospel and jazz hybrid that he’s titled \u003cem>\u003ca href=\"https://www.sfjazz.org/tickets/productions/23-24/howard-wiley/\">Saturday Night to Sunday Morning\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_10957761","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Jazz and God have intersected before — famously through John Coltrane’s \u003cem>A Love Supreme\u003c/em>; locally in Duke Ellington’s concert to consecrate Grace Cathedral in San Francisco. Part gospel standards, part originals, Wiley’s show is less an evocation of a genre — gospel music — and more of a summoning of its spirit.\u003c/p>\n\u003cp>“There’s something that just make you, that give you chills, that raise a hair on your arm,” says Wiley, one of five resident artistic directors at SFJAZZ this season. “When that Holy Spirit hit, it’s no denying it. And I hear it in everybody’s music. I hear it in Coltrane’s music. I hear it in Cannonball Adderley’s music. I hear it in James Brown’s music. I hear it when I read James Baldwin.”\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>Those open ears, of the musician-as-receiver, guide Wiley’s omnivorous activity. In the past year, I’ve happened to see him playing raucous Second Line marches with MJ’s BrassBoppers, tender ballads in a duo with longtime collaborator Kev Choice, and angular back-and-forth solos with tenor sax titan David Murray. Every time, the spirit — that goosebumps thing — is present.\u003c/p>\n\u003cfigure id=\"attachment_13951312\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951312\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley5-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Jazz saxophonist Howard Wiley rehearses in his Oakland studio. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For one song to be performed this week, “That’s Why We Praise His Holy Name,” Wiley put himself in the music after his faith was tested. During his years of playing at Glide Memorial in the Tenderloin, there was a small child that sat in the front row.\u003c/p>\n\u003cp>“I had found out the baby’s life had been so tried. His mother was incarcerated, his father was incarcerated,” Wiley says. “And I don’t see the baby one week. Next week I see the uncle, I’m like, ‘Hey, man, where’s the baby?’ He’s like, ‘The baby is dead.’ Hurt me to my soul.”\u003c/p>\n\u003cp>That same day, Wiley learned that another acquaintance — “a man of God, a family man who I respected, I knew his family” — had been convicted of molesting children. While wrestling with the fact that God could allow such things to happen, Wiley started writing.\u003c/p>\n\u003cp>“It’s like a conversation with God. It’s like ‘God, how can this happen?’ And then talking to the victim, ‘How can this happen?’ And through God’s light, I found a way that saved my mind and soul. That’s ‘That’s Why We Praise His Holy Name.'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13927947","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Wiley’s quintet for \u003cem>Saturday Night to Sunday Morning\u003c/em> includes Damien Sneed, who collaborated with Wynton Marsalis on his Abyssinian Mass, along with Camille Thurman, Amina Scott and Darrell Green. The set’s traditional spirituals run in their blood; all share a language from the church.\u003c/p>\n\u003cp>For Wiley, that language came early, from Star Bethel Missionary Baptist Church and Triumph Church on San Pablo Avenue in Oakland, both founded after Wiley’s family left the south during the Great Migration — and, down the street, the jam sessions at The Church of God in Christ.\u003c/p>\n\u003cp>Wiley rattles off the names of church folk who planted something in him: Pastor Claiborne. Mae Mae on piano. Joe Bumpus on organ. Sister Willie Mae, Mother Scott, and Mother Gray and Papa Gray, who encouraged him. Willie B., who hired him for his first gig. All contribute in their own way to this week’s shows, which Wiley hopes will provide a bit of realignment.\u003c/p>\n\u003cp>“You know, look at all this war. Look at all this famine. Look at all this starvation. Look at our entire world ecosystem, where it’s haves and have-nots. That is not the way of God,” Wiley says.\u003c/p>\n\u003cp>“But this music, it’s just something that does it. Same with Stevie Wonder’s music, or to hear Bach’s music, Beethoven’s music \u003cspan style=\"font-weight: 400\">—\u003c/span> it’s just something that is so pure, it takes you out of this construct that we’re in.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/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/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Howard Wiley’s ‘Saturday Night to Sunday Morning’ runs Saturday and Sunday, Feb. 2 and 3, with four shows at SFJAZZ in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/23-24/howard-wiley/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13951290/howard-wiley-gospel-jazz","authors":["185"],"programs":["arts_140"],"categories":["arts_1"],"tags":["arts_10278","arts_21905","arts_2683","arts_1420","arts_2048","arts_585"],"featImg":"arts_13951311","label":"arts_140"},"arts_13927947":{"type":"posts","id":"arts_13927947","meta":{"index":"posts_1591205157","site":"arts","id":"13927947","score":null,"sort":[1681918252000]},"guestAuthors":[],"slug":"crate-digging-with-bay-area-jazz-saxophonist-howard-wiley","title":"Crate Digging With Bay Area Jazz Saxophonist Howard Wiley","publishDate":1681918252,"format":"standard","headTitle":"Crate Digging With Bay Area Jazz Saxophonist Howard Wiley | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Howard Wiley is a record fanatic. Or, as Wiley puts it, “a bona fide jazz fanatic junkie.” He’s also an accomplished jazz musician who’s played tenor saxophone with a who’s-who of greats, including trumpeter Clark Terry, pianist Jason Moran and hip-hop icon Lauryn Hill, in addition to his \u003ca href=\"https://ybgfestival.org/event/howard-wiley-2023/\">regular gigs around the Bay\u003c/a>. He’s released several albums since 1995, including the acclaimed \u003ca href=\"https://music.apple.com/us/album/the-angola-project/267828625\">\u003ci>The Angola Project\u003c/i>\u003c/a>, and he’s got new music on the way this year (plus a soon-to-be-announced role as a resident artistic director at \u003ca href=\"https://www.sfjazz.org/\">SFJAZZ\u003c/a>, starting in 2024).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jDYTyPEUMFc\u003c/p>\n\u003cp>I spoke to Wiley earlier this year for \u003ca href=\"https://www.kqed.org/arts/13924375/ambrose-akinmusire-jazz-trumpet-grammys-oakland-music\">a story about his pal and fellow jazz musician Ambrose Akinmusire\u003c/a>. Over the course of the conversation, I learned about Wiley’s massive record collection and his passion for crate digging. So as \u003ca href=\"https://recordstoreday.com/\">Record Store Day\u003c/a> approaches — an annual day designated to celebrate independent record stores, landing this year on April 22 — I asked Wiley to take me to some of his favorite local record shops and share his tips for finding classic records to start, or grow, one’s collection.\u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>KQED Arts: Before we dig into the crates, tell us about your record collection.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Howard Wiley:\u003c/strong> I have about 10,000 records — about 7,000 collected on my own and 3,000 inherited from my mentor. Serious focus on the straight-ahead jazz. So I got all your favorite artists: all the Erroll Garner, all the Sarah Vaughan, all the Duke Ellington, all the Count Basie, all the Dexter Gordon, all the Charlie Parker, all the Miles Davis stuff. I have that and the artists who perform with them. \u003ca href=\"https://www.youtube.com/watch?v=lbpou3NLawM\">Johnny Hodges\u003c/a> played with Duke Ellington, so I got all the Johnny Hodges records. And all of the offshoots, the big bands.\u003c/p>\n\u003cp>I try to do regional stuff, [and] I like tenor [saxophone] players because I play tenor. I just love the music. I also have an incredibly large classical music collection. So all your major composers, all the major periods — not too much 20th century, though. Also got a lot of gospel. I’m working on gospel from the golden era [from the 1940s to 1950s], and, say, 1960 to 1990.\u003c/p>\n\u003cp>\u003cstrong>How do you approach digging for records? Do you have advice about what’s worth spending money on?\u003c/strong>\u003c/p>\n\u003cp>Streaming has a lot of the popular stuff. They got a lot of the hits and the top artists: Duke Ellington, Miles Davis, Charles Mingus, Thelonious Monk, John Coltrane, Charlie Parker, Dizzy Gillespie. \u003cspan style=\"font-weight: 400\">So if you see an original copy of Miles Davis’ \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Kind of Blue\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> or of Dave Brubeck’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Time Out\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">…they printed millions of those. Getting a reissue on one of those throughout the years is just as good. \u003c/span>I’m looking for off-the-beaten-path type stuff. Those seminal jazz artists that we don’t tend to talk about. So, I’ll look for a \u003ca href=\"https://www.youtube.com/watch?v=VgusuGsEtRQ\">Wynton Kelly\u003c/a> album. I’m gonna look for some \u003ca href=\"https://www.youtube.com/watch?v=tAZTYX_zsQ8\">Red Garland\u003c/a> on Prestige [Records]. I’ll look for some \u003ca href=\"https://www.youtube.com/watch?v=zqJ_ho8hvLE\">Shirley Scott\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13927954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0341-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927954\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0341-800x600.jpg\" alt=\"a bin of records with a record by jazz artist J.J. Johnson called 'First Place' on top\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The kind of record Wiley geeks out on — a Columbia Records “six-eye” original of ‘First Place’ by J.J. Johnson, seen at Noise Records in San Francisco on April 7. ‘J.J. was one of the foremost innovators of jazz trombone coming out of the bebop era,’ says Wiley. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How do you scope a quality record?\u003c/strong>\u003c/p>\n\u003cp>You can always tell by the thickness of the record. Once the ’80s hit, the vinyl got thinner. And just got thinner and thinner each decade.\u003c/p>\n\u003cp>You can also tell when you don’t have the big parent companies listed. If you’re looking for a good album – and it’s an old album – you won’t see any mention of parent companies. For example, if it’s a Verve album and it says Polygram on it, or Universal, you know that’s a reissue. If you see a Blue Note record and it says EMI on it, that’s a reissue. You want to look for the records where it’s just that [original] company.\u003c/p>\n\u003cp>Also, with Columbia Records — especially during their heyday in the Miles Davis \u003ci>Kind of Blue\u003c/i> period — you look at the record and you’ll see the Columbia logo, which is like an eye, and you’ll see three on each side of the hole. That means it’s an original. Then in the next phase, it was two eyes, one on each side of the hole. So if you get a copy of \u003ci>Kind of Blue\u003c/i> and it has a red label that says “Columbia Records” and no logos on either side of the hole, that means it’s a reissue that happened around the ’70s and later. I think they brought back the “six-eye” now, but those classic period albums all have six eyes. So if you see a \u003ca href=\"https://www.youtube.com/watch?v=RSzqhXJb-dA\">Patti Bown\u003c/a> record and it’s a “six-eye”? Absolutely. That’s a great find.\u003c/p>\n\u003cfigure id=\"attachment_13927955\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0388.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927955\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0388-800x489.jpg\" alt=\"two vinyl records from Columbia, with red labels, seen out of their sleeves\" width=\"800\" height=\"489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-1020x624.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-1536x939.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-1920x1174.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An example of an original Columbia “six-eye” record (left) and “two-eye” record. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you consider a reasonable price point for an average record — not a rare, “holy grail” type record?\u003c/strong>\u003c/p>\n\u003cp>You can find cool, good, original press records for $4 and $5. So you don’t have to necessarily break the bank and spend $20 and $30, like new records cost now. [At $4 or $5] you can have some incredibly good music, incredibly well recorded. And with somebody like \u003ca href=\"https://www.youtube.com/watch?v=yfIjj-wN93Y&t=59s\">James Cleveland\u003c/a>, a lot of the time it’s live. So you get \u003cem>that thang\u003c/em>, you know. And I grew up in church and I love and I miss and need \u003cem>that thang\u003c/em>. It’s nice to find that.\u003c/p>\n\u003ch2>\u003cstrong>Howard Wiley’s\u003c/strong> Recommended\u003cstrong> Record Shops\u003c/strong>\u003c/h2>\n\u003cp>If you want to trace Howard Wiley’s record-shopping steps, here are his top three stops in the Bay Area, with his “liner notes” on what he loves about them:\u003c/p>\n\u003ch2>\u003ca href=\"https://www.sanfrancisconoise.com/\">Noise\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>3427 Balboa St., San Francisco\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13927956\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0338-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927956\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0338-800x600.jpg\" alt=\"a man looks through vinyl records in a record store while an employee sits behind the desk\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Howard Wiley shopping, while Sara Alison Johnson works, at Noise in San Francisco’s Outer Richmond neighborhood on April 7. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wiley:\u003c/strong> I really love Noise. One, it’s family-owned and the owner is a saxophone player, as well. Not saying that musicians know more about records, but he just has a hunger for the music that is different. He wants to understand and he has an understanding of it. And he takes that same level of detail and study to the record store. And it’s still very organic. He runs it with his mother and his sister, and they really \u003cem>love\u003c/em> music.\u003c/p>\n\u003cp>There’s a lot of hipster used record stores and things that have been popping up, and it’s different coming from a place where somebody thinks it’s cool versus somebody who really loves music. And that’s what I get from Noise. And [the owner] Danny always has his ear to the ground for very special stuff, very special periods. And it goes across genres, too. I’m a big jazz head, big blues head, but they have all the rock and a lot of the pop stuff. It is very eclectic and very informed.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.downhomemusic.com/\">Down Home Music Store\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>10341 San Pablo Ave, El Cerrito\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13927957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0353.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0353-800x600.jpg\" alt=\"a man in a purple hoodie flips through records in a record store\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Howard Wiley flips through records at Down Home Record Store in El Cerrito on April 7. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wiley:\u003c/strong> At Down Home, I always hit the jazz section first, then I hit up the roots stuff. I try to see what the ethnomusicologists have done. I look for the \u003ca href=\"https://folkways.si.edu/arhoolie\">Arhoolie\u003c/a> things since this store was originally opened by Arhoolie Records founder Chris Strachwitz. I look for records and CDs that are from small or boutique presses — stuff that’s hard to find and that you only find in indie spots. They’ve got the Japanese 45s, and Japanese pressings are detailed to the max. Best sound quality.\u003c/p>\n\u003cp>This place has a lot of great CDs and video recordings, too. TV performances, live performances, stuff that you won’t find on YouTube – you find those gems here. I got a bunch of Thelonious Monk and Roots Americana videos here. A lot of regional stuff – how the music sounded in the Pacific Northwest in the ’30s during their first great migration. What it sounded like in Mississippi churches.\u003c/p>\n\u003ch2>Groove Yard\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>5555 Claremont Ave, Oakland\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13927960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0367.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927960\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0367-800x600.jpg\" alt=\"an older white man stands behind the counter in a cluttered record shop, laughing as he talks with a younger Black man in a purple hoodie and hat on the other side of the counter\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Groove Yard owner Rick Ballard (left) and Wiley talk records at Groove Yard in Oakland on April 7. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wiley:\u003c/strong> The “holy trinity” of record stores in the East Bay used to be this place called Berigan’s, a place called DBA Brown and the Groove Yard. Unfortunately, Berigan’s and DBA Brown are no longer with us, and the Groove Yard is the last of that. It’s a super, super great record shop. I would go to the Groove Yard as a teenager and just hang out and listen to all the record collectors talk about labels and producers, and brag about their collections.\u003c/p>\n\u003cp>I learned not only about the records, but about the music and the culture. That’s what I get from the Groove Yard. Plus [owner] Rick Ballard is one of these dudes who’s been in the game so long as a record store owner, as a record importer and as somebody who has a place that draws all the avid collectors. So you’ll see Rick talk about stuff you don’t ever hear anybody talk about, like \u003ca href=\"https://www.evereststereo.com/about/\">Everest Records\u003c/a>. So this place is super special — a great record store run by somebody who is cool and informative. It has a special place in my heart.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"The 'bona fide jazz fanatic junkie' leads a tour of three Bay Area record stores and shares his tips for collecting.","status":"publish","parent":0,"modified":1705005610,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1725},"headData":{"title":"Crate Digging With Bay Area Jazz Saxophonist Howard Wiley | KQED","description":"The 'bona fide jazz fanatic junkie' leads a tour of three Bay Area record stores and shares his tips for collecting.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Crate Digging With Bay Area Jazz Saxophonist Howard Wiley","datePublished":"2023-04-19T15:30:52.000Z","dateModified":"2024-01-11T20:40:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13927947/crate-digging-with-bay-area-jazz-saxophonist-howard-wiley","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Howard Wiley is a record fanatic. Or, as Wiley puts it, “a bona fide jazz fanatic junkie.” He’s also an accomplished jazz musician who’s played tenor saxophone with a who’s-who of greats, including trumpeter Clark Terry, pianist Jason Moran and hip-hop icon Lauryn Hill, in addition to his \u003ca href=\"https://ybgfestival.org/event/howard-wiley-2023/\">regular gigs around the Bay\u003c/a>. He’s released several albums since 1995, including the acclaimed \u003ca href=\"https://music.apple.com/us/album/the-angola-project/267828625\">\u003ci>The Angola Project\u003c/i>\u003c/a>, and he’s got new music on the way this year (plus a soon-to-be-announced role as a resident artistic director at \u003ca href=\"https://www.sfjazz.org/\">SFJAZZ\u003c/a>, starting in 2024).\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/jDYTyPEUMFc'\n title='//www.youtube.com/embed/jDYTyPEUMFc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I spoke to Wiley earlier this year for \u003ca href=\"https://www.kqed.org/arts/13924375/ambrose-akinmusire-jazz-trumpet-grammys-oakland-music\">a story about his pal and fellow jazz musician Ambrose Akinmusire\u003c/a>. Over the course of the conversation, I learned about Wiley’s massive record collection and his passion for crate digging. So as \u003ca href=\"https://recordstoreday.com/\">Record Store Day\u003c/a> approaches — an annual day designated to celebrate independent record stores, landing this year on April 22 — I asked Wiley to take me to some of his favorite local record shops and share his tips for finding classic records to start, or grow, one’s collection.\u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>KQED Arts: Before we dig into the crates, tell us about your record collection.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Howard Wiley:\u003c/strong> I have about 10,000 records — about 7,000 collected on my own and 3,000 inherited from my mentor. Serious focus on the straight-ahead jazz. So I got all your favorite artists: all the Erroll Garner, all the Sarah Vaughan, all the Duke Ellington, all the Count Basie, all the Dexter Gordon, all the Charlie Parker, all the Miles Davis stuff. I have that and the artists who perform with them. \u003ca href=\"https://www.youtube.com/watch?v=lbpou3NLawM\">Johnny Hodges\u003c/a> played with Duke Ellington, so I got all the Johnny Hodges records. And all of the offshoots, the big bands.\u003c/p>\n\u003cp>I try to do regional stuff, [and] I like tenor [saxophone] players because I play tenor. I just love the music. I also have an incredibly large classical music collection. So all your major composers, all the major periods — not too much 20th century, though. Also got a lot of gospel. I’m working on gospel from the golden era [from the 1940s to 1950s], and, say, 1960 to 1990.\u003c/p>\n\u003cp>\u003cstrong>How do you approach digging for records? Do you have advice about what’s worth spending money on?\u003c/strong>\u003c/p>\n\u003cp>Streaming has a lot of the popular stuff. They got a lot of the hits and the top artists: Duke Ellington, Miles Davis, Charles Mingus, Thelonious Monk, John Coltrane, Charlie Parker, Dizzy Gillespie. \u003cspan style=\"font-weight: 400\">So if you see an original copy of Miles Davis’ \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Kind of Blue\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> or of Dave Brubeck’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Time Out\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">…they printed millions of those. Getting a reissue on one of those throughout the years is just as good. \u003c/span>I’m looking for off-the-beaten-path type stuff. Those seminal jazz artists that we don’t tend to talk about. So, I’ll look for a \u003ca href=\"https://www.youtube.com/watch?v=VgusuGsEtRQ\">Wynton Kelly\u003c/a> album. I’m gonna look for some \u003ca href=\"https://www.youtube.com/watch?v=tAZTYX_zsQ8\">Red Garland\u003c/a> on Prestige [Records]. I’ll look for some \u003ca href=\"https://www.youtube.com/watch?v=zqJ_ho8hvLE\">Shirley Scott\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13927954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0341-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927954\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0341-800x600.jpg\" alt=\"a bin of records with a record by jazz artist J.J. Johnson called 'First Place' on top\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0341-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The kind of record Wiley geeks out on — a Columbia Records “six-eye” original of ‘First Place’ by J.J. Johnson, seen at Noise Records in San Francisco on April 7. ‘J.J. was one of the foremost innovators of jazz trombone coming out of the bebop era,’ says Wiley. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How do you scope a quality record?\u003c/strong>\u003c/p>\n\u003cp>You can always tell by the thickness of the record. Once the ’80s hit, the vinyl got thinner. And just got thinner and thinner each decade.\u003c/p>\n\u003cp>You can also tell when you don’t have the big parent companies listed. If you’re looking for a good album – and it’s an old album – you won’t see any mention of parent companies. For example, if it’s a Verve album and it says Polygram on it, or Universal, you know that’s a reissue. If you see a Blue Note record and it says EMI on it, that’s a reissue. You want to look for the records where it’s just that [original] company.\u003c/p>\n\u003cp>Also, with Columbia Records — especially during their heyday in the Miles Davis \u003ci>Kind of Blue\u003c/i> period — you look at the record and you’ll see the Columbia logo, which is like an eye, and you’ll see three on each side of the hole. That means it’s an original. Then in the next phase, it was two eyes, one on each side of the hole. So if you get a copy of \u003ci>Kind of Blue\u003c/i> and it has a red label that says “Columbia Records” and no logos on either side of the hole, that means it’s a reissue that happened around the ’70s and later. I think they brought back the “six-eye” now, but those classic period albums all have six eyes. So if you see a \u003ca href=\"https://www.youtube.com/watch?v=RSzqhXJb-dA\">Patti Bown\u003c/a> record and it’s a “six-eye”? Absolutely. That’s a great find.\u003c/p>\n\u003cfigure id=\"attachment_13927955\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0388.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927955\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0388-800x489.jpg\" alt=\"two vinyl records from Columbia, with red labels, seen out of their sleeves\" width=\"800\" height=\"489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-800x489.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-1020x624.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-768x470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-1536x939.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388-1920x1174.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0388.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An example of an original Columbia “six-eye” record (left) and “two-eye” record. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you consider a reasonable price point for an average record — not a rare, “holy grail” type record?\u003c/strong>\u003c/p>\n\u003cp>You can find cool, good, original press records for $4 and $5. So you don’t have to necessarily break the bank and spend $20 and $30, like new records cost now. [At $4 or $5] you can have some incredibly good music, incredibly well recorded. And with somebody like \u003ca href=\"https://www.youtube.com/watch?v=yfIjj-wN93Y&t=59s\">James Cleveland\u003c/a>, a lot of the time it’s live. So you get \u003cem>that thang\u003c/em>, you know. And I grew up in church and I love and I miss and need \u003cem>that thang\u003c/em>. It’s nice to find that.\u003c/p>\n\u003ch2>\u003cstrong>Howard Wiley’s\u003c/strong> Recommended\u003cstrong> Record Shops\u003c/strong>\u003c/h2>\n\u003cp>If you want to trace Howard Wiley’s record-shopping steps, here are his top three stops in the Bay Area, with his “liner notes” on what he loves about them:\u003c/p>\n\u003ch2>\u003ca href=\"https://www.sanfrancisconoise.com/\">Noise\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>3427 Balboa St., San Francisco\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13927956\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0338-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927956\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0338-800x600.jpg\" alt=\"a man looks through vinyl records in a record store while an employee sits behind the desk\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0338-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Howard Wiley shopping, while Sara Alison Johnson works, at Noise in San Francisco’s Outer Richmond neighborhood on April 7. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wiley:\u003c/strong> I really love Noise. One, it’s family-owned and the owner is a saxophone player, as well. Not saying that musicians know more about records, but he just has a hunger for the music that is different. He wants to understand and he has an understanding of it. And he takes that same level of detail and study to the record store. And it’s still very organic. He runs it with his mother and his sister, and they really \u003cem>love\u003c/em> music.\u003c/p>\n\u003cp>There’s a lot of hipster used record stores and things that have been popping up, and it’s different coming from a place where somebody thinks it’s cool versus somebody who really loves music. And that’s what I get from Noise. And [the owner] Danny always has his ear to the ground for very special stuff, very special periods. And it goes across genres, too. I’m a big jazz head, big blues head, but they have all the rock and a lot of the pop stuff. It is very eclectic and very informed.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.downhomemusic.com/\">Down Home Music Store\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>10341 San Pablo Ave, El Cerrito\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13927957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0353.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0353-800x600.jpg\" alt=\"a man in a purple hoodie flips through records in a record store\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0353-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Howard Wiley flips through records at Down Home Record Store in El Cerrito on April 7. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wiley:\u003c/strong> At Down Home, I always hit the jazz section first, then I hit up the roots stuff. I try to see what the ethnomusicologists have done. I look for the \u003ca href=\"https://folkways.si.edu/arhoolie\">Arhoolie\u003c/a> things since this store was originally opened by Arhoolie Records founder Chris Strachwitz. I look for records and CDs that are from small or boutique presses — stuff that’s hard to find and that you only find in indie spots. They’ve got the Japanese 45s, and Japanese pressings are detailed to the max. Best sound quality.\u003c/p>\n\u003cp>This place has a lot of great CDs and video recordings, too. TV performances, live performances, stuff that you won’t find on YouTube – you find those gems here. I got a bunch of Thelonious Monk and Roots Americana videos here. A lot of regional stuff – how the music sounded in the Pacific Northwest in the ’30s during their first great migration. What it sounded like in Mississippi churches.\u003c/p>\n\u003ch2>Groove Yard\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>5555 Claremont Ave, Oakland\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13927960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0367.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927960\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/IMG_0367-800x600.jpg\" alt=\"an older white man stands behind the counter in a cluttered record shop, laughing as he talks with a younger Black man in a purple hoodie and hat on the other side of the counter\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/IMG_0367-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Groove Yard owner Rick Ballard (left) and Wiley talk records at Groove Yard in Oakland on April 7. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Wiley:\u003c/strong> The “holy trinity” of record stores in the East Bay used to be this place called Berigan’s, a place called DBA Brown and the Groove Yard. Unfortunately, Berigan’s and DBA Brown are no longer with us, and the Groove Yard is the last of that. It’s a super, super great record shop. I would go to the Groove Yard as a teenager and just hang out and listen to all the record collectors talk about labels and producers, and brag about their collections.\u003c/p>\n\u003cp>I learned not only about the records, but about the music and the culture. That’s what I get from the Groove Yard. Plus [owner] Rick Ballard is one of these dudes who’s been in the game so long as a record store owner, as a record importer and as somebody who has a place that draws all the avid collectors. So you’ll see Rick talk about stuff you don’t ever hear anybody talk about, like \u003ca href=\"https://www.evereststereo.com/about/\">Everest Records\u003c/a>. So this place is super special — a great record store run by somebody who is cool and informative. It has a special place in my heart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13927947/crate-digging-with-bay-area-jazz-saxophonist-howard-wiley","authors":["11296"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_8355","arts_10278","arts_2415","arts_2683","arts_1420","arts_3741"],"featImg":"arts_13927953","label":"arts"},"arts_13911226":{"type":"posts","id":"arts_13911226","meta":{"index":"posts_1591205157","site":"arts","id":"13911226","score":null,"sort":[1648580459000]},"guestAuthors":[],"slug":"samora-pinderhughes-ybca-the-healing-project","title":"'The Healing Project' Asks: How Do We Survive in America? And How Do We Heal?","publishDate":1648580459,"format":"audio","headTitle":"‘The Healing Project’ Asks: How Do We Survive in America? And How Do We Heal? | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.samorapinderhughes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Samora Pinderhughes\u003c/a> spent the past eight years exploring two questions.\u003c/p>\n\u003cp>“One is, how do we survive in America? And the other is how do we heal on a daily basis?” says the Bay Area-raised composer, pianist, filmmaker, singer and activist in an interview with KQED.\u003c/p>\n\u003cp>The result of his investigation is \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Healing Project\u003c/em>,\u003c/a> a kaleidoscopic, highly collaborative creative endeavor comprised of a \u003ca href=\"https://www.last.fm/music/Samora+Pinderhughes/GRIEF\" target=\"_blank\" rel=\"noopener noreferrer\">15-track album\u003c/a>; an exhibition at San Francisco’s \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Center for the Arts\u003c/a> (YBCA); an audio archive of interviews with more than 100 people across 15 states who’ve encountered structural violence like incarceration, detention or community shootings in their daily lives; and a concert series, including a performance \u003ca href=\"https://live.stanford.edu/calendar/april-2022/samora-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">on Saturday, April 2, at Stanford Live\u003c/a>.\u003c/p>\n\u003cp>“The project as a whole is about the experience of dealing with American institutions that create poverty,” says Pinderhughes. “Because I think a lot of times, we don’t ask people about their experiences with these systems, like, ‘What’s your day to day reality? What are you facing? How do you heal yourself?'”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jJvoxZpFavo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pinderhughes’ album, \u003cem>Grief\u003c/em>, is at the core of the project. The song “Holding Cell,” which vividly explores the two questions, imagines letters written by three inmates. One is on death row. Another is an undocumented immigrant in a detention center, and a third is in prison awaiting trial. While the chorus highlights the failures of the prison industrial complex across the spectrum (“Holding cell, holding cell / I can’t get well while you hold me”), the second verse points to a more healing future:\u003c/p>\n\u003cp>\u003cem>I want a quiet\u003cbr>\nlife In a flat\u003cbr>\nwith Church on a Sunday I got a voice\u003cbr>\nAnd I got a laugh\u003cbr>\nAnd I’ll use it one day\u003c/em>\u003c/p>\n\u003cp>[aside postID='arts_12059349']\u003cem>The Healing Project\u003c/em> involves dozens of collaborators, among them Pinderhughes’ own sister, the renowned flautist and vocalist \u003ca href=\"https://nyphil.org/about-us/artists/elena-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">Elena Pinderhughes\u003c/a>. Elena is featured on the album and will appear in live performances alongside her brother; filmmaker \u003ca href=\"https://christianpadron.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Christian Padron\u003c/a> collaborated on several music videos based on songs from the new album and additional films; and weaving/fiber artist \u003ca href=\"https://ybca.org/artist/nnaemeka-emeka-ekwelum/\" target=\"_blank\" rel=\"noopener noreferrer\">Nnaemeka Ekwelum\u003c/a>‘s series of brilliantly-colored, intricate “Grief Cloths” adorn the walls of the YBCA exhibition.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“When I was weaving the ‘Grief Cloths,’ I wasn’t just thinking through my own personal grief,” says Ekwelum, who started making the flowing sculptures from plastic lacing, yarn and other materials in response to his father’s death in March 2021. “I was also thinking about the collective grief of this moment we’re all living through, with so much despair, dysfunction and structural damage.”\u003c/p>\n\u003cp>Ekwelum says the “Grief Cloths” not only embody personal and systemic grief, but also point towards healing.\u003c/p>\n\u003cp>“I’m coming into weaving from a place of anxiety or a deep sadness. And then by the end of the weaving process, I have this beautiful object that I’ve created from these difficult feelings being reflected back at me,” he says. “I’m modeling a way to transform pain into something beautiful that doesn’t eclipse the significance of what you’re feeling, but can memorialize it in a way where you can look at it and accept the lessons from it without feeling totally deflated or intimidated by what it is.”\u003c/p>\n\u003cfigure id=\"attachment_13911249\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911249\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Grief Cloths’ by fiber artist Nnaemeka Ekwelum. Left-hand wall. ‘The Healing Project,’ installation view, Yerba Buena Center for the Arts, 2022. \u003ccite>(Courtesy Yerba Buena Center for the Arts. Photographs by Charlie Villyard. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Healing Project\u003c/em> also includes significant contributions from incarcerated people.\u003c/p>\n\u003cp>A small, blue-colored room in the corner of YBCA’s galleries is devoted to select voices of the many people Pinderhughes interviewed for the project, heard via a looped audio feed. One is activist and artist \u003ca href=\"https://www.keithlamar.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Keith LaMar\u003c/a>, a death row inmate in Ohio, who’s been in solitary confinement for the past three decades. He is scheduled to be executed next year.\u003c/p>\n\u003cp>“The truly tragic element of my situation is that it’s not personal,” says LaMar (whose meditations can also be heard in a series of videos on social media featuring a sparse musical tracks by Pinderhughes). “This could happen to anybody.”\u003c/p>\n\u003cfigure id=\"attachment_13911248\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13911248 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A selection of images by Pitt Panther. \u003ccite>(Courtesy Pitt Panther)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are the hand-drawn, black-and-white works on paper by Pitt Panther, such as representations of George Floyd and Black Power symbols. Panther is currently serving a prison sentence in Virginia.\u003c/p>\n\u003cp>“Pitt Panther sends me these pieces through the mail,” says Pinderhughes. “He’s one of my favorite artists in the world.”\u003c/p>\n\u003cp>YBCA’s Chief of Program Meklit Hadero says one of the powerful things about \u003cem>The Healing Project\u003c/em> is that it centers real human lived experiences at the same time as exploring massive and seemingly intractable societal problems.\u003c/p>\n\u003cp>“A lot of times when we talk about these big systems, we talk about them from places of statistics or numbers or ways that feel so impersonal that things can get brushed aside,” Hadero says. “It becomes real when it’s about people.”\u003cem> \u003c/em>\u003c/p>\n\u003cp>Pinderhughes hopes \u003cem>The Healing Project\u003c/em> will create space for people to come together to grieve, and mend, and ultimately imagine a more equitable future.\u003c/p>\n\u003cp>“It’s my attempt,” he says, “to communicate an abolitionist vision.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>‘The Healing Project’ runs through June 19 at Yerba Buena Center for the Arts. \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Samora Pinderhughes performs with Elena Pinderhughes, Howard Wiley, Marcus Shelby, and Bobby Gonz at the Bing Studio at Stanford on Saturday, April 2. \u003ca href=\"https://live.stanford.edu/calendar/april-2022/samora-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Samora Pinderhughes uses music, visual art and interviews to explore the damage caused by incarceration, policing and violence.","status":"publish","parent":0,"modified":1705007034,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":997},"headData":{"title":"'The Healing Project' Asks: How Do We Survive in America? And How Do We Heal? | KQED","description":"Samora Pinderhughes uses music, visual art and interviews to explore the damage caused by incarceration, policing and violence.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'The Healing Project' Asks: How Do We Survive in America? And How Do We Heal?","datePublished":"2022-03-29T19:00:59.000Z","dateModified":"2024-01-11T21:03:54.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/99ae4467-d380-4cd4-9c9a-ae6a012a4a0d/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13911226/samora-pinderhughes-ybca-the-healing-project","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.samorapinderhughes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Samora Pinderhughes\u003c/a> spent the past eight years exploring two questions.\u003c/p>\n\u003cp>“One is, how do we survive in America? And the other is how do we heal on a daily basis?” says the Bay Area-raised composer, pianist, filmmaker, singer and activist in an interview with KQED.\u003c/p>\n\u003cp>The result of his investigation is \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Healing Project\u003c/em>,\u003c/a> a kaleidoscopic, highly collaborative creative endeavor comprised of a \u003ca href=\"https://www.last.fm/music/Samora+Pinderhughes/GRIEF\" target=\"_blank\" rel=\"noopener noreferrer\">15-track album\u003c/a>; an exhibition at San Francisco’s \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Center for the Arts\u003c/a> (YBCA); an audio archive of interviews with more than 100 people across 15 states who’ve encountered structural violence like incarceration, detention or community shootings in their daily lives; and a concert series, including a performance \u003ca href=\"https://live.stanford.edu/calendar/april-2022/samora-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">on Saturday, April 2, at Stanford Live\u003c/a>.\u003c/p>\n\u003cp>“The project as a whole is about the experience of dealing with American institutions that create poverty,” says Pinderhughes. “Because I think a lot of times, we don’t ask people about their experiences with these systems, like, ‘What’s your day to day reality? What are you facing? How do you heal yourself?'”\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/jJvoxZpFavo'\n title='//www.youtube.com/embed/jJvoxZpFavo'\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>Pinderhughes’ album, \u003cem>Grief\u003c/em>, is at the core of the project. The song “Holding Cell,” which vividly explores the two questions, imagines letters written by three inmates. One is on death row. Another is an undocumented immigrant in a detention center, and a third is in prison awaiting trial. While the chorus highlights the failures of the prison industrial complex across the spectrum (“Holding cell, holding cell / I can’t get well while you hold me”), the second verse points to a more healing future:\u003c/p>\n\u003cp>\u003cem>I want a quiet\u003cbr>\nlife In a flat\u003cbr>\nwith Church on a Sunday I got a voice\u003cbr>\nAnd I got a laugh\u003cbr>\nAnd I’ll use it one day\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_12059349","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Healing Project\u003c/em> involves dozens of collaborators, among them Pinderhughes’ own sister, the renowned flautist and vocalist \u003ca href=\"https://nyphil.org/about-us/artists/elena-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">Elena Pinderhughes\u003c/a>. Elena is featured on the album and will appear in live performances alongside her brother; filmmaker \u003ca href=\"https://christianpadron.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Christian Padron\u003c/a> collaborated on several music videos based on songs from the new album and additional films; and weaving/fiber artist \u003ca href=\"https://ybca.org/artist/nnaemeka-emeka-ekwelum/\" target=\"_blank\" rel=\"noopener noreferrer\">Nnaemeka Ekwelum\u003c/a>‘s series of brilliantly-colored, intricate “Grief Cloths” adorn the walls of the YBCA exhibition.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“When I was weaving the ‘Grief Cloths,’ I wasn’t just thinking through my own personal grief,” says Ekwelum, who started making the flowing sculptures from plastic lacing, yarn and other materials in response to his father’s death in March 2021. “I was also thinking about the collective grief of this moment we’re all living through, with so much despair, dysfunction and structural damage.”\u003c/p>\n\u003cp>Ekwelum says the “Grief Cloths” not only embody personal and systemic grief, but also point towards healing.\u003c/p>\n\u003cp>“I’m coming into weaving from a place of anxiety or a deep sadness. And then by the end of the weaving process, I have this beautiful object that I’ve created from these difficult feelings being reflected back at me,” he says. “I’m modeling a way to transform pain into something beautiful that doesn’t eclipse the significance of what you’re feeling, but can memorialize it in a way where you can look at it and accept the lessons from it without feeling totally deflated or intimidated by what it is.”\u003c/p>\n\u003cfigure id=\"attachment_13911249\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911249\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Grief Cloths’ by fiber artist Nnaemeka Ekwelum. Left-hand wall. ‘The Healing Project,’ installation view, Yerba Buena Center for the Arts, 2022. \u003ccite>(Courtesy Yerba Buena Center for the Arts. Photographs by Charlie Villyard. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Healing Project\u003c/em> also includes significant contributions from incarcerated people.\u003c/p>\n\u003cp>A small, blue-colored room in the corner of YBCA’s galleries is devoted to select voices of the many people Pinderhughes interviewed for the project, heard via a looped audio feed. One is activist and artist \u003ca href=\"https://www.keithlamar.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Keith LaMar\u003c/a>, a death row inmate in Ohio, who’s been in solitary confinement for the past three decades. He is scheduled to be executed next year.\u003c/p>\n\u003cp>“The truly tragic element of my situation is that it’s not personal,” says LaMar (whose meditations can also be heard in a series of videos on social media featuring a sparse musical tracks by Pinderhughes). “This could happen to anybody.”\u003c/p>\n\u003cfigure id=\"attachment_13911248\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13911248 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A selection of images by Pitt Panther. \u003ccite>(Courtesy Pitt Panther)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are the hand-drawn, black-and-white works on paper by Pitt Panther, such as representations of George Floyd and Black Power symbols. Panther is currently serving a prison sentence in Virginia.\u003c/p>\n\u003cp>“Pitt Panther sends me these pieces through the mail,” says Pinderhughes. “He’s one of my favorite artists in the world.”\u003c/p>\n\u003cp>YBCA’s Chief of Program Meklit Hadero says one of the powerful things about \u003cem>The Healing Project\u003c/em> is that it centers real human lived experiences at the same time as exploring massive and seemingly intractable societal problems.\u003c/p>\n\u003cp>“A lot of times when we talk about these big systems, we talk about them from places of statistics or numbers or ways that feel so impersonal that things can get brushed aside,” Hadero says. “It becomes real when it’s about people.”\u003cem> \u003c/em>\u003c/p>\n\u003cp>Pinderhughes hopes \u003cem>The Healing Project\u003c/em> will create space for people to come together to grieve, and mend, and ultimately imagine a more equitable future.\u003c/p>\n\u003cp>“It’s my attempt,” he says, “to communicate an abolitionist vision.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>‘The Healing Project’ runs through June 19 at Yerba Buena Center for the Arts. \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Samora Pinderhughes performs with Elena Pinderhughes, Howard Wiley, Marcus Shelby, and Bobby Gonz at the Bing Studio at Stanford on Saturday, April 2. \u003ca href=\"https://live.stanford.edu/calendar/april-2022/samora-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13911226/samora-pinderhughes-ybca-the-healing-project","authors":["8608"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_69","arts_70"],"tags":["arts_10342","arts_10278","arts_2683","arts_1420","arts_3584","arts_1526","arts_1146","arts_2265","arts_585","arts_1040","arts_1955"],"featImg":"arts_13911261","label":"arts_140"},"arts_13909444":{"type":"posts","id":"arts_13909444","meta":{"index":"posts_1591205157","site":"arts","id":"13909444","score":null,"sort":[1645042822000]},"guestAuthors":[],"slug":"jason-moran-two-wings-jazz-great-migration","title":"An All-Star Jazz Lineup Explores the Great Migration in Berkeley","publishDate":1645042822,"format":"standard","headTitle":"An All-Star Jazz Lineup Explores the Great Migration in Berkeley | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Jason Moran is no stranger to incorporating his personal interests into his concerts. In the past decade, the 47-year-old jazz pianist has collaborated with skateboarders on a halfpipe, held open-floor dance parties and dabbled in hip-hop improvisation with rapper Q-Tip.\u003c/p>\n\u003cp>Now, Moran is exploring his personal family history in a concert called \u003cem>Two Wings: The Music of Black America in Migration\u003c/em>, coming to Berkeley’s Zellerbach Hall on Thursday, Feb. 17.\u003c/p>\n\u003cp>The concert is a musical exploration of the Great Migration, the decades-long period in the 20th century when Black families fled the racism and lynching of the Jim Crow South. It’s co-led by Moran’s wife, the acclaimed mezzo-soprano Alicia Hall Moran, and the stacked program, organized specially for the Bay Area, includes trumpeter Ambrose Akinsmure, saxophonist Howard Wiley and the St. John Coltrane African Orthodox Church Ensemble.\u003c/p>\n\u003cp>It’s hard to overestimate the Great Migration’s effect on Black culture, and, by extension, American culture, Moran says.\u003c/p>\n\u003cp>“Six million African Americans departing the South for places North, Northeast, and to the West from 1910 to 1970 reshapes the way the country sounds,” Jason explains, in a joint phone interview with Alicia. “The songs that they make, and the stories they write, and the dances they dance, and the poems they recite, the prayers they lift up, the ceremonies they create.”\u003c/p>\n\u003cfigure id=\"attachment_13909511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/ambrose-about-04.jpg\" alt=\"A man in a suit plays the trumpet, in side view\" width=\"800\" height=\"460\" class=\"size-full wp-image-13909511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ambrose-about-04.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ambrose-about-04-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ambrose-about-04-768x442.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-based trumpeter Ambrose Akinsmure, whose latest album ‘on the tender spot of every calloused moment’ was nominated for a Grammy Award, is a performer at ‘Two Wings.’ \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The songs performed in \u003cem>Two Wings\u003c/em> span the Great Migration era, and include the jazz of the Harlem Renaissance, show tunes, gospel hymns, classical music and the Moran’s own compositions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The concert premiered at Carnegie Hall in 2019 and has traveled from city to city, but Alicia feels a special resonance in bringing it to the Bay Area. Alicia’s ancestors moved from Georgia to Philadelphia after emancipation, and her grandparents came to Pasadena after World War II for work. Her mother met her father at Stanford University, and she herself was born in Redwood City. \u003c/p>\n\u003cp>Alicia points out that along with employment opportunities, California offered education for her ancestors, who went “where they had to go to get the level that matched their intellectual and philosophical capacities.”\u003c/p>\n\u003cp>One song from the show, “Believe Me,” addresses the state directly. “You don’t need me to tell you / All the things that one can do / In sunny California,” she sings.\u003c/p>\n\u003cp>Those things include tennis, riding horses, surfing, scuba diving. “But really the subtext of that is also one can be in a non-segregated classroom in California,” Alicia says. “One can work at a tech firm in California. That’s what my parents did, and that’s what the song is about.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3Pq_u3F7xdo\u003c/p>\n\u003cp>Conducted by Tania León and including the chamber ensemble Imani Winds and the New York jazz trio Harriet Tubman, the concert also includes narration by professor Donna Jean Murch, whose book \u003cem>Living for the City\u003c/em> traces the formation of the Black Panther Party in Oakland—and the ways the Great Migration brought its founders together. \u003c/p>\n\u003cp>The Bay Area, as many know, is now experiencing a Great Exodus, as rents skyrocket and new development pushes out the very same Black families that settled here during the Great Migration. The Morans, who’ve seen the same changes in their neighborhood in Harlem, are sympathetic to the challenges. \u003c/p>\n\u003cp>The best practical protection against gentrification for the working middle class is to “buy your house and don’t sell it,” Alicia says. “But you have to stay working and you have to stay middle class, and those things, for all Americans … they’re under attack all the time.”\u003c/p>\n\u003cp>Jason offers a reminder that older people—people in power—are the ones to be held accountable. “I’m loathe to say it, but we often try to lop it onto the youth. But the youth are the last to need the education. It’s the grownups. The grownups have hardened into a thinking that their way is right.”\u003c/p>\n\u003cp>At \u003cem>Two Wings\u003c/em>, Jason says, the hope is to span that divide, as the concert brings different ages and backgrounds under one roof for a musical conversation. \u003c/p>\n\u003cp>“There are multiple languages spoken at many times,” he says, “and we \u003cem>must\u003c/em> get better at how to translate it all.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\n\u003cp>\u003cem>‘Two Wings: The Music of Black America in Migration’ is presented on Thursday, Feb. 17, at Zellerbach Hall in Berkeley. \u003ca href=\"https://calperformances.org/events/2021-22/jazz/two-wings-2122/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Jason and Alicia Hall Moran discuss the upcoming concert with Ambrose Akinsmure, Howard Wiley, the Church of John Coltrane and more. ","status":"publish","parent":0,"modified":1705007184,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":816},"headData":{"title":"An All-Star Jazz Lineup Explores the Great Migration in Berkeley | KQED","description":"Jason and Alicia Hall Moran discuss the upcoming concert with Ambrose Akinsmure, Howard Wiley, the Church of John Coltrane and more. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"An All-Star Jazz Lineup Explores the Great Migration in Berkeley","datePublished":"2022-02-16T20:20:22.000Z","dateModified":"2024-01-11T21:06:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13909444/jason-moran-two-wings-jazz-great-migration","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jason Moran is no stranger to incorporating his personal interests into his concerts. In the past decade, the 47-year-old jazz pianist has collaborated with skateboarders on a halfpipe, held open-floor dance parties and dabbled in hip-hop improvisation with rapper Q-Tip.\u003c/p>\n\u003cp>Now, Moran is exploring his personal family history in a concert called \u003cem>Two Wings: The Music of Black America in Migration\u003c/em>, coming to Berkeley’s Zellerbach Hall on Thursday, Feb. 17.\u003c/p>\n\u003cp>The concert is a musical exploration of the Great Migration, the decades-long period in the 20th century when Black families fled the racism and lynching of the Jim Crow South. It’s co-led by Moran’s wife, the acclaimed mezzo-soprano Alicia Hall Moran, and the stacked program, organized specially for the Bay Area, includes trumpeter Ambrose Akinsmure, saxophonist Howard Wiley and the St. John Coltrane African Orthodox Church Ensemble.\u003c/p>\n\u003cp>It’s hard to overestimate the Great Migration’s effect on Black culture, and, by extension, American culture, Moran says.\u003c/p>\n\u003cp>“Six million African Americans departing the South for places North, Northeast, and to the West from 1910 to 1970 reshapes the way the country sounds,” Jason explains, in a joint phone interview with Alicia. “The songs that they make, and the stories they write, and the dances they dance, and the poems they recite, the prayers they lift up, the ceremonies they create.”\u003c/p>\n\u003cfigure id=\"attachment_13909511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/ambrose-about-04.jpg\" alt=\"A man in a suit plays the trumpet, in side view\" width=\"800\" height=\"460\" class=\"size-full wp-image-13909511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ambrose-about-04.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ambrose-about-04-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ambrose-about-04-768x442.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-based trumpeter Ambrose Akinsmure, whose latest album ‘on the tender spot of every calloused moment’ was nominated for a Grammy Award, is a performer at ‘Two Wings.’ \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The songs performed in \u003cem>Two Wings\u003c/em> span the Great Migration era, and include the jazz of the Harlem Renaissance, show tunes, gospel hymns, classical music and the Moran’s own compositions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The concert premiered at Carnegie Hall in 2019 and has traveled from city to city, but Alicia feels a special resonance in bringing it to the Bay Area. Alicia’s ancestors moved from Georgia to Philadelphia after emancipation, and her grandparents came to Pasadena after World War II for work. Her mother met her father at Stanford University, and she herself was born in Redwood City. \u003c/p>\n\u003cp>Alicia points out that along with employment opportunities, California offered education for her ancestors, who went “where they had to go to get the level that matched their intellectual and philosophical capacities.”\u003c/p>\n\u003cp>One song from the show, “Believe Me,” addresses the state directly. “You don’t need me to tell you / All the things that one can do / In sunny California,” she sings.\u003c/p>\n\u003cp>Those things include tennis, riding horses, surfing, scuba diving. “But really the subtext of that is also one can be in a non-segregated classroom in California,” Alicia says. “One can work at a tech firm in California. That’s what my parents did, and that’s what the song is about.”\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/3Pq_u3F7xdo'\n title='//www.youtube.com/embed/3Pq_u3F7xdo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Conducted by Tania León and including the chamber ensemble Imani Winds and the New York jazz trio Harriet Tubman, the concert also includes narration by professor Donna Jean Murch, whose book \u003cem>Living for the City\u003c/em> traces the formation of the Black Panther Party in Oakland—and the ways the Great Migration brought its founders together. \u003c/p>\n\u003cp>The Bay Area, as many know, is now experiencing a Great Exodus, as rents skyrocket and new development pushes out the very same Black families that settled here during the Great Migration. The Morans, who’ve seen the same changes in their neighborhood in Harlem, are sympathetic to the challenges. \u003c/p>\n\u003cp>The best practical protection against gentrification for the working middle class is to “buy your house and don’t sell it,” Alicia says. “But you have to stay working and you have to stay middle class, and those things, for all Americans … they’re under attack all the time.”\u003c/p>\n\u003cp>Jason offers a reminder that older people—people in power—are the ones to be held accountable. “I’m loathe to say it, but we often try to lop it onto the youth. But the youth are the last to need the education. It’s the grownups. The grownups have hardened into a thinking that their way is right.”\u003c/p>\n\u003cp>At \u003cem>Two Wings\u003c/em>, Jason says, the hope is to span that divide, as the concert brings different ages and backgrounds under one roof for a musical conversation. \u003c/p>\n\u003cp>“There are multiple languages spoken at many times,” he says, “and we \u003cem>must\u003c/em> get better at how to translate it all.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\n\u003cp>\u003cem>‘Two Wings: The Music of Black America in Migration’ is presented on Thursday, Feb. 17, at Zellerbach Hall in Berkeley. \u003ca href=\"https://calperformances.org/events/2021-22/jazz/two-wings-2122/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13909444/jason-moran-two-wings-jazz-great-migration","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_2435","arts_15393","arts_13952","arts_2683","arts_1420","arts_585","arts_2880"],"featImg":"arts_13909508","label":"arts_140"},"arts_13896360":{"type":"posts","id":"arts_13896360","meta":{"index":"posts_1591205157","site":"arts","id":"13896360","score":null,"sort":[1619645585000]},"guestAuthors":[],"slug":"artists-put-the-struggles-and-hopes-of-the-past-year-to-music-at-sjz-new-works-fest","title":"Artists Put the Struggles and Hopes of the Past Year to Music at SJZ New Works Fest","publishDate":1619645585,"format":"standard","headTitle":"Artists Put the Struggles and Hopes of the Past Year to Music at SJZ New Works Fest | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>When it comes to creative collaborations, \u003ca href=\"https://www.vananhvo.com/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Vân-Ánh Võ\u003c/a> often acts as a conduit between ideas, musicians and sounds from California to Vietnam. Coaxing melodies of hope and heartbreak from her 16-string đàn tranh, her technical mastery and moving compositions have captivated audiences at the Yerba Buena Center for the Arts in San Francisco, the Kennedy Center in Washington, D.C. and even Barack Obama’s White House.\u003c/p>\n\u003cp>So, like a lot of artists, the Fremont musician found herself feeling unmoored when the pandemic interrupted her flow of rehearsals and performances. “In June I felt like I was frozen,” she recalls. “I couldn’t do anything, with everything dropping around me. As the [bandleader], I have to deal with all the cancellations and all my ensemble’s needs. It’s sad, it’s very sad; it’s confusing and frustrating.”\u003c/p>\n\u003cp>“By July I decided to try to get out of that frozen box I was in and try to see if I can keep moving,” she continues. “I found myself drifting or floating. And that’s when I decided to write music again.”\u003c/p>\n\u003cp>But even while she attempted to keep herself and her ensemble motivated, Võ found herself increasingly discouraged by the limitations of working over Zoom. Finally, she turned a corner earlier this year, when San Jose Jazz commissioned her to write and perform a new piece debuting on May 6 for its \u003ca href=\"https://sanjosejazz.org\" target=\"_blank\" rel=\"noopener noreferrer\">New Works Fest\u003c/a>, which kicks off online this week on April 29.\u003c/p>\n\u003cp>https://youtu.be/88THC7Gi5Pg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The piece Võ wrote and recorded for the festival is a thundering, cathartic one called “Fire,” featuring taiko drummer Jimi Nakagawa and marimba lumina player Joel Davel. In the piece, her đàn bầu playing is alternately yearning, anxious and furious. She pauses to emphatically recite a poem in Vietnamese by 18th-century poet Hồ Xuân Hương, a chant that evokes an awe of the natural world.\u003c/p>\n\u003cp>“The concept is that I myself and all of us have been going through a very difficult time. … But that doesn’t mean it will stop us from being creative, being hopeful and trying to move on,” Võ explains. “In our culture, fire destroys but also gives new life for new ideas.” [aside postid='arts_13895321']\u003c/p>\n\u003cp>Commissioning original music is new for San Jose Jazz, which is best known for putting on live events like its popular Winter and Summer Fests. For this endeavor, the organization awarded grants to 33 musicians with its Jazz Aid Fund, organized in response to COVID. The artists were selected by a panel of experts including musicians, events presenters and journalists (including regular KQED Arts & Culture contributor Andrew Gilbert).\u003c/p>\n\u003cp>https://youtu.be/eSyYinz975w\u003c/p>\n\u003cp>“The good thing is that our influencers came up with some names we’ve never heard of before,” says artistic director Bruce Labadie of the panel’s selections. “And so now we have a whole list of new artists to work with in the future when we get back to live performances.” [aside postid='arts_13893043']\u003c/p>\n\u003cp>Eleven of the artists hail from the Bay Area. And like Võ, many don’t work in strictly jazz per se. Pianist Javier Santiago, for instance, blends jazz and beat-making, and sometimes invites rappers on to his songs as guest vocalists. Others, like Howard Wiley and Kev Choice, have toured with major artists like Lauryn Hill, and are also fluent in soul, R&B and—in Choice’s case—classical.\u003c/p>\n\u003cp>April 29 through May 8, San Jose Jazz will debut performances that some of the grantees recorded in its new Break Room, a streaming studio that will double as an intimate concert space when indoor shows resume at the venue. In the meantime, fans can catch recorded performances by Võ, Santiago, Choice and Wiley, as well as Oran Etkin, Tammy Hall, Ten Spencer, Chris Cain, Claudia Villela, Justin Ouellet, Robbie Benson and Ian Santillano. Online performances are ticketed, and the public can also watch them for free in the form of projections on the side of the San Jose Jazz headquarters at South 1st and San Carlos Streets.\u003c/p>\n\u003cp>https://youtu.be/uWhphOSKEu0\u003c/p>\n\u003cp>“[The project] gives me hope that we’ll come back, and when we come back we’ll come back stronger,” Võ says. “And the honor of it overrides the actual financial award.”\u003c/p>\n\u003cp>For other artists, the commission became a platform to reflect on the pandemic’s mental and spiritual toll. “It made me really have to look and dig deep for some faith in the way the world was turning out,” says \u003ca href=\"http://www.javiersantiagomusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Javier Santiago\u003c/a>, whose performance will stream alongside Võ’s on May 6.\u003c/p>\n\u003cp>Santiago says he hit a slump during the winter after months without live shows, which were how he previously made a living. He composed his light, soulful and somewhat funky piece, “The Light That Awaits Us,” as a way to summon “the patience and perseverance to get through this.”\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/howardwileysax?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">Howard Wiley\u003c/a>’s new song, aptly titled “The Never Ending Year,” also looks to make meaning from the trauma of the pandemic. “The first part of the composition is the state of not knowing, not being able to do so many things that are vital—or what we perceived as being vital—for us as artists and people and community,” says Wiley, whose performance screens on May 8.\u003c/p>\n\u003cp>https://youtu.be/OWPwkLvfSlo\u003c/p>\n\u003cp>The second movement of Wiley’s composition reflects another truth that gave him perspective. “The unrelenting resilience of the creative spirit is amazing,” he says. “So much was going on in our lives last year, and yet we still found ways to creatively express [ourselves]. … That is the optimism—that is my favorite part about jazz music.”\u003c/p>\n\u003cp>Wiley misses Friday nights at Cafe Stritch, another cornerstone of San Jose’s jazz scene he says was often “lit to death” with music and dancing in the before times. But he’s encouraged that an institution like San Jose Jazz is doing its part to keep the music playing.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s a creative thing that constantly has to be encouraged replenished,” Wiley says. “You have to constantly turn the soil and aerate it, so you have to do that with the music and the art.”\u003c/p>\n\n","blocks":[],"excerpt":"An invitation—and funding—to write new music lit a spark in artists who hit a slump after a year without live shows. ","status":"publish","parent":0,"modified":1705019103,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1129},"headData":{"title":"Artists Put the Struggles and Hopes of the Past Year to Music at SJZ New Works Fest | KQED","description":"An invitation—and funding—to write new music lit a spark in artists who hit a slump after a year without live shows. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Artists Put the Struggles and Hopes of the Past Year to Music at SJZ New Works Fest","datePublished":"2021-04-28T21:33:05.000Z","dateModified":"2024-01-12T00:25:03.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13896360/artists-put-the-struggles-and-hopes-of-the-past-year-to-music-at-sjz-new-works-fest","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it comes to creative collaborations, \u003ca href=\"https://www.vananhvo.com/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Vân-Ánh Võ\u003c/a> often acts as a conduit between ideas, musicians and sounds from California to Vietnam. Coaxing melodies of hope and heartbreak from her 16-string đàn tranh, her technical mastery and moving compositions have captivated audiences at the Yerba Buena Center for the Arts in San Francisco, the Kennedy Center in Washington, D.C. and even Barack Obama’s White House.\u003c/p>\n\u003cp>So, like a lot of artists, the Fremont musician found herself feeling unmoored when the pandemic interrupted her flow of rehearsals and performances. “In June I felt like I was frozen,” she recalls. “I couldn’t do anything, with everything dropping around me. As the [bandleader], I have to deal with all the cancellations and all my ensemble’s needs. It’s sad, it’s very sad; it’s confusing and frustrating.”\u003c/p>\n\u003cp>“By July I decided to try to get out of that frozen box I was in and try to see if I can keep moving,” she continues. “I found myself drifting or floating. And that’s when I decided to write music again.”\u003c/p>\n\u003cp>But even while she attempted to keep herself and her ensemble motivated, Võ found herself increasingly discouraged by the limitations of working over Zoom. Finally, she turned a corner earlier this year, when San Jose Jazz commissioned her to write and perform a new piece debuting on May 6 for its \u003ca href=\"https://sanjosejazz.org\" target=\"_blank\" rel=\"noopener noreferrer\">New Works Fest\u003c/a>, which kicks off online this week on April 29.\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/88THC7Gi5Pg'\n title='//www.youtube.com/embed/88THC7Gi5Pg'\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>The piece Võ wrote and recorded for the festival is a thundering, cathartic one called “Fire,” featuring taiko drummer Jimi Nakagawa and marimba lumina player Joel Davel. In the piece, her đàn bầu playing is alternately yearning, anxious and furious. She pauses to emphatically recite a poem in Vietnamese by 18th-century poet Hồ Xuân Hương, a chant that evokes an awe of the natural world.\u003c/p>\n\u003cp>“The concept is that I myself and all of us have been going through a very difficult time. … But that doesn’t mean it will stop us from being creative, being hopeful and trying to move on,” Võ explains. “In our culture, fire destroys but also gives new life for new ideas.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13895321","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Commissioning original music is new for San Jose Jazz, which is best known for putting on live events like its popular Winter and Summer Fests. For this endeavor, the organization awarded grants to 33 musicians with its Jazz Aid Fund, organized in response to COVID. The artists were selected by a panel of experts including musicians, events presenters and journalists (including regular KQED Arts & Culture contributor Andrew Gilbert).\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/eSyYinz975w'\n title='//www.youtube.com/embed/eSyYinz975w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The good thing is that our influencers came up with some names we’ve never heard of before,” says artistic director Bruce Labadie of the panel’s selections. “And so now we have a whole list of new artists to work with in the future when we get back to live performances.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13893043","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eleven of the artists hail from the Bay Area. And like Võ, many don’t work in strictly jazz per se. Pianist Javier Santiago, for instance, blends jazz and beat-making, and sometimes invites rappers on to his songs as guest vocalists. Others, like Howard Wiley and Kev Choice, have toured with major artists like Lauryn Hill, and are also fluent in soul, R&B and—in Choice’s case—classical.\u003c/p>\n\u003cp>April 29 through May 8, San Jose Jazz will debut performances that some of the grantees recorded in its new Break Room, a streaming studio that will double as an intimate concert space when indoor shows resume at the venue. In the meantime, fans can catch recorded performances by Võ, Santiago, Choice and Wiley, as well as Oran Etkin, Tammy Hall, Ten Spencer, Chris Cain, Claudia Villela, Justin Ouellet, Robbie Benson and Ian Santillano. Online performances are ticketed, and the public can also watch them for free in the form of projections on the side of the San Jose Jazz headquarters at South 1st and San Carlos Streets.\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/uWhphOSKEu0'\n title='//www.youtube.com/embed/uWhphOSKEu0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“[The project] gives me hope that we’ll come back, and when we come back we’ll come back stronger,” Võ says. “And the honor of it overrides the actual financial award.”\u003c/p>\n\u003cp>For other artists, the commission became a platform to reflect on the pandemic’s mental and spiritual toll. “It made me really have to look and dig deep for some faith in the way the world was turning out,” says \u003ca href=\"http://www.javiersantiagomusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Javier Santiago\u003c/a>, whose performance will stream alongside Võ’s on May 6.\u003c/p>\n\u003cp>Santiago says he hit a slump during the winter after months without live shows, which were how he previously made a living. He composed his light, soulful and somewhat funky piece, “The Light That Awaits Us,” as a way to summon “the patience and perseverance to get through this.”\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/howardwileysax?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">Howard Wiley\u003c/a>’s new song, aptly titled “The Never Ending Year,” also looks to make meaning from the trauma of the pandemic. “The first part of the composition is the state of not knowing, not being able to do so many things that are vital—or what we perceived as being vital—for us as artists and people and community,” says Wiley, whose performance screens on May 8.\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/OWPwkLvfSlo'\n title='//www.youtube.com/embed/OWPwkLvfSlo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The second movement of Wiley’s composition reflects another truth that gave him perspective. “The unrelenting resilience of the creative spirit is amazing,” he says. “So much was going on in our lives last year, and yet we still found ways to creatively express [ourselves]. … That is the optimism—that is my favorite part about jazz music.”\u003c/p>\n\u003cp>Wiley misses Friday nights at Cafe Stritch, another cornerstone of San Jose’s jazz scene he says was often “lit to death” with music and dancing in the before times. But he’s encouraged that an institution like San Jose Jazz is doing its part to keep the music playing.\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>“It’s a creative thing that constantly has to be encouraged replenished,” Wiley says. “You have to constantly turn the soil and aerate it, so you have to do that with the music and the art.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13896360/artists-put-the-struggles-and-hopes-of-the-past-year-to-music-at-sjz-new-works-fest","authors":["11387"],"categories":["arts_1"],"tags":["arts_10278","arts_2683","arts_5371","arts_2078"],"featImg":"arts_13896461","label":"arts"},"arts_13884458":{"type":"posts","id":"arts_13884458","meta":{"index":"posts_1591205157","site":"arts","id":"13884458","score":null,"sort":[1597086041000]},"guestAuthors":[],"slug":"two-greats-posthumous-album-bridges-generations-of-bay-area-jazz","title":"Two Greats’ Posthumous Album Bridges Generations of Bay Area Jazz","publishDate":1597086041,"format":"standard","headTitle":"Two Greats’ Posthumous Album Bridges Generations of Bay Area Jazz | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Sauntering into San Francisco’s Closer Studios in a bright green suit with a bag full of horns slung over his shoulder, Prince Lasha didn’t need to play a note to make a lasting impression. Nearly a dozen years after his final recording session, the saxophonist, flutist, clarinetist and largely unsung avant-garde jazz patriarch hasn’t faded a bit from the memory of fellow Oakland multi-instrumentalist Howard Wiley. The fact that Lasha (pronounced La-\u003cem>shay\u003c/em>) was also accompanied by a female college student—who may or may not have been researching a paper about him, and was carrying a gun—added considerable drama to his entrance.\u003c/p>\n\u003cp>“He came packing,” recalls Wiley, who was part of a contingent of younger players on a session organized by producer Eric Moffat. “It was some otherworldly type of thing, but we had a great time. He was a beautiful cat who wanted everyone to contribute to the session and be free.”\u003c/p>\n\u003cp>Convened on an overcast fall day just weeks before the 2008 election, the long-rumored recording has just surfaced as \u003cem>6X6\u003c/em>, a new album that arrives as the music world mourns last month’s loss of San Jose-based trumpeter \u003ca href=\"https://www.nytimes.com/2020/07/16/arts/music/eddie-gale-dead.html\" target=\"_blank\" rel=\"noopener noreferrer\">Eddie Gale\u003c/a>, another under-recorded jazz master coaxed into the studio that day by Moffat. The project not only adds a new chapter to the discographies of two artists who helped radically expand jazz’s sonic frontiers in the 1960s, it highlights the Bay Area’s underground history of harboring groundbreaking under-the-radar improvisers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2SFAbay9xlQ\u003c/p>\n\u003cp>A New York native, Gale earned early acclaim for his work embracing the form-expanding, rhythmically unfettered, tonally adventurous music of pianists Sun Ra and Cecil Taylor. Even after he went on to record two acclaimed Black consciousness albums for Blue Note, 1968’s \u003cem>Ghetto Music\u003c/em> and 1969’s \u003cem>Black Rhythm Happening\u003c/em>, he maintained close ties with Ra, the singular bandleader and Afro-futurist composer and poet whose music projected Black culture into the cosmos.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Until he left the planet, I was with Sun Ra,” Gale told me in a 2002 interview. “He had a special place for me in the Arkestra, and whenever he came to California he’d call and say, ‘Come and play.’ I stayed in touch with Cecil Taylor too. He’s an Aries, fire, and I’m a Leo, fire, and all the cats in his band were stretching. I learned a lot of things from Cecil. How to structure your ideas, how to write them out.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3585202845/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Gale came to the Bay Area in 1972 for an artist-in-residence stint at Stanford University. After the semester, he ended up settling with his family in San Jose. He spent a lot of his time bringing music education programs into schools around the region, and for two decades produced an annual concert in San Jose for world peace that attracted musicians representing numerous styles and traditions.\u003c/p>\n\u003cp>“When I first settled out here people kept saying to me, ‘You should be up in San Francisco, that’s where the jazz scene is,’” Gale said. “I’d say, ‘There’s a highway that takes me right up there, and to Oakland and Berkeley too.’ I’m involved in stuff all over the Bay Area, but some of the most rewarding work has been in the schools, opening up doors for young people to express themselves.”\u003c/p>\n\u003cp>Lasha was one of players drawn into Gale’s orbit, performing often in the trumpeter’s band from the 1990s on. He was part of an extraordinary cadre of Black musicians from Fort Worth, Texas, and he spent his formative years performing alongside fellow I.M. Terrell High School students such as clarinetist John Carter, alto saxophonist Ornette Coleman, drummer Charles Moffett and saxophonists Dewey Redman and King Curtis. They were all steeped in blues and gut-bucket R&B. But except for Curtis, who earned fame for his work on R&B, soul and rock ‘n’ roll hits, Lasha’s classmates became leading figures in the movement often called free jazz.\u003c/p>\n\u003cfigure id=\"attachment_13884464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/prince-lasha-and-howard-wiley-at-closer-photo-by-Paul-Waters-IMG_4444-Edit-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/prince-lasha-and-howard-wiley-at-closer-photo-by-Paul-Waters-IMG_4444-Edit-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/prince-lasha-and-howard-wiley-at-closer-photo-by-Paul-Waters-IMG_4444-Edit-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/prince-lasha-and-howard-wiley-at-closer-photo-by-Paul-Waters-IMG_4444-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/prince-lasha-and-howard-wiley-at-closer-photo-by-Paul-Waters-IMG_4444-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/prince-lasha-and-howard-wiley-at-closer-photo-by-Paul-Waters-IMG_4444-Edit-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/prince-lasha-and-howard-wiley-at-closer-photo-by-Paul-Waters-IMG_4444-Edit-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/prince-lasha-and-howard-wiley-at-closer-photo-by-Paul-Waters-IMG_4444-Edit-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince Lasha and Howard Wiley. Photo: Paul Waters\u003c/figcaption>\u003c/figure>\n\u003cp>Like Coleman, Lasha moved to Los Angeles for several years in the 1950s, a period when he also spent some time in San Francisco. He made his mark with a series of classic albums, starting with his 1962 Contemporary release \u003cem>The Cry!\u003c/em> which featured his luscious flute work and the scorching alto sax of Sonny Simmons (another under-sung jazz explorer who spent many years in the Bay Area). In 1970, his Firebirds band with Simmons, Fort Worth drummer Charles Moffett and vibraphonist Bobby Hutcherson played a series of riveting concerts in California, recording live albums at the Monterey Jazz Festival and the Berkeley Jazz Festival. Lasha ended up moving to Oakland and started investing in real estate, living in a house behind the Claremont Hotel with his wife and nine kids.\u003c/p>\n\u003cp>He hadn’t been recording much when Eric Moffat brought him and Gale into the studio session that turned out to be his valedictory statement. “He passed away early December and it was a shock,” Moffat says. “His playing was so strong during that session. He’s a badass and he brought it.”\u003c/p>\n\u003cp>Oakland-reared drummer Darrell Green, a close musical confidant of Howard Wiley now based in New York City, provided the pulse, and Broun Fellinis’ tenor saxophonist David Boyce served as a generational and stylistic bridge between the rising East Bay contingent and the avant-garde lions. At the center of the action was bassist Marcus Shelby. Playing in the trumpeter’s band at the time, he connected Moffat with Gale and Lasha.\u003c/p>\n\u003cp>Each of the six musicians contributed a tune, hence the album’s title \u003cem>6X6\u003c/em>. With the election only days away, a sense of optimism filled the room. Gale kicked off the session with a blazing piece that’s part chant and part joyous conflagration, “This is for Obama.” Moffat recalls that Gale introduced a horn riff and then kept increasing the tempo. “They finally hit this rhythm, and did that song in one take,” he says. “Prince just turned the temperature way up and everyone rose to it. They played that for over 10 minutes and I thought we were done for the day. Where are you going to go after this? But we got five more great songs.”\u003c/p>\n\u003cp>Lasha took the reins on the next number, a baritone sax-powered Ellingtonian ballad called “Birds Brilliant Colors.” Shelby followed with a lovely piece inspired by his daughter, “Kennedy’s African Playground.” As thrilled as he was to be recording with two pioneering masters, Shelby recalls that it was Boyce’s presence at the session that made it special for him.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“One of the reasons I had moved up to San Francisco was because I had seen groups like Broun Fellinis,” says Shelby, who first gained national attention with the Los Angeles hard-bop band Black/Note, which recorded for Impulse! and Columbia. “Black/Note had just broken up and I needed to go somewhere I could grow. David Boyce was playing a totally different style than what I was doing, but I liked the music and the energy and fell in love with that band. I loved what he did and how he and Howard worked together. It’s not a style I’m associated with, but it was one of my favorite sessions I’ve ever done.”\u003c/p>\n\n","blocks":[],"excerpt":"A new release from Eddie Gale and Prince Lasha adds a new chapter to the discographies of two artists who helped radically expand jazz’s sonic frontiers in the 1960s.","status":"publish","parent":0,"modified":1705020307,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=3585202845/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1320},"headData":{"title":"Two Greats’ Posthumous Album Bridges Generations of Bay Area Jazz | KQED","description":"A new release from Eddie Gale and Prince Lasha adds a new chapter to the discographies of two artists who helped radically expand jazz’s sonic frontiers in the 1960s.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Two Greats’ Posthumous Album Bridges Generations of Bay Area Jazz","datePublished":"2020-08-10T19:00:41.000Z","dateModified":"2024-01-12T00:45:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13884458/two-greats-posthumous-album-bridges-generations-of-bay-area-jazz","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sauntering into San Francisco’s Closer Studios in a bright green suit with a bag full of horns slung over his shoulder, Prince Lasha didn’t need to play a note to make a lasting impression. Nearly a dozen years after his final recording session, the saxophonist, flutist, clarinetist and largely unsung avant-garde jazz patriarch hasn’t faded a bit from the memory of fellow Oakland multi-instrumentalist Howard Wiley. The fact that Lasha (pronounced La-\u003cem>shay\u003c/em>) was also accompanied by a female college student—who may or may not have been researching a paper about him, and was carrying a gun—added considerable drama to his entrance.\u003c/p>\n\u003cp>“He came packing,” recalls Wiley, who was part of a contingent of younger players on a session organized by producer Eric Moffat. “It was some otherworldly type of thing, but we had a great time. He was a beautiful cat who wanted everyone to contribute to the session and be free.”\u003c/p>\n\u003cp>Convened on an overcast fall day just weeks before the 2008 election, the long-rumored recording has just surfaced as \u003cem>6X6\u003c/em>, a new album that arrives as the music world mourns last month’s loss of San Jose-based trumpeter \u003ca href=\"https://www.nytimes.com/2020/07/16/arts/music/eddie-gale-dead.html\" target=\"_blank\" rel=\"noopener noreferrer\">Eddie Gale\u003c/a>, another under-recorded jazz master coaxed into the studio that day by Moffat. The project not only adds a new chapter to the discographies of two artists who helped radically expand jazz’s sonic frontiers in the 1960s, it highlights the Bay Area’s underground history of harboring groundbreaking under-the-radar improvisers.\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/2SFAbay9xlQ'\n title='//www.youtube.com/embed/2SFAbay9xlQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A New York native, Gale earned early acclaim for his work embracing the form-expanding, rhythmically unfettered, tonally adventurous music of pianists Sun Ra and Cecil Taylor. Even after he went on to record two acclaimed Black consciousness albums for Blue Note, 1968’s \u003cem>Ghetto Music\u003c/em> and 1969’s \u003cem>Black Rhythm Happening\u003c/em>, he maintained close ties with Ra, the singular bandleader and Afro-futurist composer and poet whose music projected Black culture into the cosmos.\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>“Until he left the planet, I was with Sun Ra,” Gale told me in a 2002 interview. “He had a special place for me in the Arkestra, and whenever he came to California he’d call and say, ‘Come and play.’ I stayed in touch with Cecil Taylor too. He’s an Aries, fire, and I’m a Leo, fire, and all the cats in his band were stretching. I learned a lot of things from Cecil. How to structure your ideas, how to write them out.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3585202845/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Gale came to the Bay Area in 1972 for an artist-in-residence stint at Stanford University. After the semester, he ended up settling with his family in San Jose. He spent a lot of his time bringing music education programs into schools around the region, and for two decades produced an annual concert in San Jose for world peace that attracted musicians representing numerous styles and traditions.\u003c/p>\n\u003cp>“When I first settled out here people kept saying to me, ‘You should be up in San Francisco, that’s where the jazz scene is,’” Gale said. “I’d say, ‘There’s a highway that takes me right up there, and to Oakland and Berkeley too.’ I’m involved in stuff all over the Bay Area, but some of the most rewarding work has been in the schools, opening up doors for young people to express themselves.”\u003c/p>\n\u003cp>Lasha was one of players drawn into Gale’s orbit, performing often in the trumpeter’s band from the 1990s on. He was part of an extraordinary cadre of Black musicians from Fort Worth, Texas, and he spent his formative years performing alongside fellow I.M. Terrell High School students such as clarinetist John Carter, alto saxophonist Ornette Coleman, drummer Charles Moffett and saxophonists Dewey Redman and King Curtis. They were all steeped in blues and gut-bucket R&B. But except for Curtis, who earned fame for his work on R&B, soul and rock ‘n’ roll hits, Lasha’s classmates became leading figures in the movement often called free jazz.\u003c/p>\n\u003cfigure id=\"attachment_13884464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/prince-lasha-and-howard-wiley-at-closer-photo-by-Paul-Waters-IMG_4444-Edit-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/prince-lasha-and-howard-wiley-at-closer-photo-by-Paul-Waters-IMG_4444-Edit-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/prince-lasha-and-howard-wiley-at-closer-photo-by-Paul-Waters-IMG_4444-Edit-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/prince-lasha-and-howard-wiley-at-closer-photo-by-Paul-Waters-IMG_4444-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/prince-lasha-and-howard-wiley-at-closer-photo-by-Paul-Waters-IMG_4444-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/prince-lasha-and-howard-wiley-at-closer-photo-by-Paul-Waters-IMG_4444-Edit-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/prince-lasha-and-howard-wiley-at-closer-photo-by-Paul-Waters-IMG_4444-Edit-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/prince-lasha-and-howard-wiley-at-closer-photo-by-Paul-Waters-IMG_4444-Edit-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince Lasha and Howard Wiley. Photo: Paul Waters\u003c/figcaption>\u003c/figure>\n\u003cp>Like Coleman, Lasha moved to Los Angeles for several years in the 1950s, a period when he also spent some time in San Francisco. He made his mark with a series of classic albums, starting with his 1962 Contemporary release \u003cem>The Cry!\u003c/em> which featured his luscious flute work and the scorching alto sax of Sonny Simmons (another under-sung jazz explorer who spent many years in the Bay Area). In 1970, his Firebirds band with Simmons, Fort Worth drummer Charles Moffett and vibraphonist Bobby Hutcherson played a series of riveting concerts in California, recording live albums at the Monterey Jazz Festival and the Berkeley Jazz Festival. Lasha ended up moving to Oakland and started investing in real estate, living in a house behind the Claremont Hotel with his wife and nine kids.\u003c/p>\n\u003cp>He hadn’t been recording much when Eric Moffat brought him and Gale into the studio session that turned out to be his valedictory statement. “He passed away early December and it was a shock,” Moffat says. “His playing was so strong during that session. He’s a badass and he brought it.”\u003c/p>\n\u003cp>Oakland-reared drummer Darrell Green, a close musical confidant of Howard Wiley now based in New York City, provided the pulse, and Broun Fellinis’ tenor saxophonist David Boyce served as a generational and stylistic bridge between the rising East Bay contingent and the avant-garde lions. At the center of the action was bassist Marcus Shelby. Playing in the trumpeter’s band at the time, he connected Moffat with Gale and Lasha.\u003c/p>\n\u003cp>Each of the six musicians contributed a tune, hence the album’s title \u003cem>6X6\u003c/em>. With the election only days away, a sense of optimism filled the room. Gale kicked off the session with a blazing piece that’s part chant and part joyous conflagration, “This is for Obama.” Moffat recalls that Gale introduced a horn riff and then kept increasing the tempo. “They finally hit this rhythm, and did that song in one take,” he says. “Prince just turned the temperature way up and everyone rose to it. They played that for over 10 minutes and I thought we were done for the day. Where are you going to go after this? But we got five more great songs.”\u003c/p>\n\u003cp>Lasha took the reins on the next number, a baritone sax-powered Ellingtonian ballad called “Birds Brilliant Colors.” Shelby followed with a lovely piece inspired by his daughter, “Kennedy’s African Playground.” As thrilled as he was to be recording with two pioneering masters, Shelby recalls that it was Boyce’s presence at the session that made it special for him.\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>“One of the reasons I had moved up to San Francisco was because I had seen groups like Broun Fellinis,” says Shelby, who first gained national attention with the Los Angeles hard-bop band Black/Note, which recorded for Impulse! and Columbia. “Black/Note had just broken up and I needed to go somewhere I could grow. David Boyce was playing a totally different style than what I was doing, but I liked the music and the energy and fell in love with that band. I loved what he did and how he and Howard worked together. It’s not a style I’m associated with, but it was one of my favorite sessions I’ve ever done.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13884458/two-greats-posthumous-album-bridges-generations-of-bay-area-jazz","authors":["86"],"categories":["arts_1"],"tags":["arts_8355","arts_10278","arts_2683","arts_3584"],"featImg":"arts_13884623","label":"arts"},"arts_13868279":{"type":"posts","id":"arts_13868279","meta":{"index":"posts_1591205157","site":"arts","id":"13868279","score":null,"sort":[1571700883000]},"guestAuthors":[],"slug":"black-power-with-a-bay-area-twist-at-the-de-young-museum","title":"Black Power, With a Bay Area Twist, at the de Young Museum","publishDate":1571700883,"format":"standard","headTitle":"Black Power, With a Bay Area Twist, at the de Young Museum | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The exhibition \u003cem>Soul of a Nation: Art in the Age of Black Power 1963–1983\u003c/em> premiered at the \u003ca href=\"https://www.tate.org.uk/whats-on/tate-modern/exhibition/soul-nation-art-age-black-power\" target=\"_blank\" rel=\"noopener noreferrer\">Tate Modern in London\u003c/a> in 2017, has traveled to the \u003ca href=\"https://www.thebroad.org/soul-of-a-nation\" target=\"_blank\" rel=\"noopener noreferrer\">Broad Musuem\u003c/a> in Los Angeles, and, starting Nov. 9, will call San Francisco home through March 2020.\u003c/p>\n\u003cp>It features the works of artists Romare Bearden, Charles Alston, Norman Lewis and Hale Woodruff, who founded the legendary \u003ca href=\"https://www.artsy.net/gene/spiral-group\" target=\"_blank\" rel=\"noopener noreferrer\">Spiral Group\u003c/a> in the mid-’60s. Also included are the works of the \u003ca href=\"https://www.theguardian.com/artanddesign/2018/jun/15/africobra-now-exhibition-new-york-black-arts-movement\" target=\"_blank\" rel=\"noopener noreferrer\">AfriCOBRA\u003c/a> group (the African Commune of Bad Relevant Artists), which originated in Chicago in the late ’60s; one of their more famous contributions to the movement is \u003cem>\u003ca href=\"https://www.africobranow.com/wall-of-respect\" target=\"_blank\" rel=\"noopener noreferrer\">The Wall of Respect\u003c/a>\u003c/em>. And there’s work from the group Just Above Midtown (JAM), created in 1974 by \u003ca href=\"https://www.nytimes.com/2019/10/11/nyregion/linda-goode-bryant-project-eats.html\" target=\"_blank\" rel=\"noopener noreferrer\">Linda Goode Bryant\u003c/a>.\u003c/p>\n\u003cp>To kick things off on Nov. 9 is \u003ca href=\"https://www.famsf.org/press-room/all-power-people-de-young-museum-announces-extensive-slew-programming-tied-soul-nation\" target=\"_blank\" rel=\"noopener noreferrer\">a day-long block party\u003c/a> during which admission is totally free, with a workshop by San Francisco’s own Malik Senefru and performances from R&B, rap and jazz artists like Martin Luther, Vocal Rush, Sistah Iminah, Howard Wiley, Ruby Ibarra and Aneesa Strings.\u003c/p>\n\u003cp>Tell all this to your average Bay Area art fan, and they’d probably have a hard time guessing the venue: the de Young Museum.\u003c/p>\n\u003cfigure id=\"attachment_13868544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Rhythmic-Cigarettes-Tate-2-800x556.jpg\" alt=\"Al Fennar, 'Rythmic Cigarettes, Greenwich Village, New York 1964,' 1964. Photograph, gelatin silver print on paper. \" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Rhythmic-Cigarettes-Tate-2-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Rhythmic-Cigarettes-Tate-2-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Rhythmic-Cigarettes-Tate-2-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Rhythmic-Cigarettes-Tate-2-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Rhythmic-Cigarettes-Tate-2-1200x834.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Rhythmic-Cigarettes-Tate-2.jpg 1246w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Al Fennar, ‘Rythmic Cigarettes, Greenwich Village, New York 1964,’ 1964. Photograph, gelatin silver print on paper. \u003ccite>(© The Estate of Albert R. Fennar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>How’d the “the most visited art museum west of the Mississippi” (according to \u003cem>The Art Newspaper\u003c/em> in 2012) get into throwing an event celebrating black power?\u003c/p>\n\u003cp>“Last November the de Young hired \u003ca href=\"https://www.kqed.org/arts/13843927/thomas-campbell-former-met-director-to-head-de-young-and-legion-of-honor\" target=\"_blank\" rel=\"noopener noreferrer\">Thomas Campbell\u003c/a> as the new executive director, after a few years of rocky times,” says Francesca D’alessio, the de Young’s senior manager of public programs. (Those rocky times include going through four executive directors in the past decade.) But now, she says, the museum wants to turn a new leaf.\u003c/p>\n\u003cp>“The de Young needs to be rooted again in community,” D’alessio says. “After all, it is the city’s museum.”\u003c/p>\n\u003cp>In working to build those bridges, the museum recently launched a \u003ca href=\"https://www.kqed.org/arts/13849706/fine-arts-museums-to-offer-free-general-admission-to-sf-residents\" target=\"_blank\" rel=\"noopener noreferrer\">free Saturday admission\u003c/a> program for all San Francisco residents. In November, the entire museum will be free on select Saturdays—and that’s for all folks, not just San Francisco residents.\u003c/p>\n\u003cfigure id=\"attachment_13868546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868546\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/BarkleyHenricls-800x632.jpg\" alt=\"Barkley L. Hendricks, "What's Going On", 1974, oil, acrylic, and magna on cotton canvas.\" width=\"800\" height=\"632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BarkleyHenricls-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BarkleyHenricls-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BarkleyHenricls-768x606.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BarkleyHenricls-1020x805.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BarkleyHenricls.jpg 1097w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Barkley L. Hendricks, “What’s Going On”, 1974, oil, acrylic, and magna on cotton canvas. \u003ccite>(© Estate of Barkley L. Hendricks. Courtesy of the artist’s estate and Jack Shainman Gallery, New York.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, “de Young” and “black power” in the same sentence just sounds weird. It’s the same museum where the ever-controversial and influential \u003ca href=\"https://www.kqed.org/arts/13858996/dede-wilsey-steps-down-as-board-president-from-de-young-legion-of-honor\" target=\"_blank\" rel=\"noopener noreferrer\">Dede Wilsey\u003c/a> stepped down from her role as president and chair of the board of trustees that oversees the museum (as well as its neighboring fine arts establishment, the Legion of Honor) earlier this year. Wilsey, an investor in the arts and a donor to the Republican party, still remains involved in the museum as chair emerita.\u003c/p>\n\u003cp>“If you know anything about the de Young, this is the most culturally black thing I’ve seen them do,” says Jahi of Public Enemy Radio, one of the curators of the Nov. 9 block party.\u003c/p>\n\u003cp>Jahi, who’s called the Bay Area home for 20 years, tells me that from his own experience and that of the many musicians he knows, “I know a lot of the struggles people face when it comes to getting on a big stage out here.” Often, he adds, local talent will usually only be used as an opening act for national or international artists, especially at major venues like a world-renowned museum.\u003c/p>\n\u003cfigure id=\"attachment_13852477\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852477\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/0-3-800x535.jpg\" alt=\"Aneesa Strings and an upright bass bond at Oaktown Jazz Workshops\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/0-3-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/0-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/0-3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/0-3-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/0-3-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/0-3.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aneesa Strings is among the performers at the de Young’s free kickoff party for ‘Soul of a Nation’ on Nov. 9. \u003ccite>(Pendarvis Harshaw/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, when he was given the opportunity, “I just booked all of the great Bay Area artists I could think of,” Jahi says. “To see them all on the same bill, on the same day, man! I just wanted to create something that I’d look at and say, ‘I’ll take the family and be there all day.’”\u003c/p>\n\u003cp>Beyond the local kickoff, scheduled events during the exhibition’s 18-week run are also curated by Bay Area artists and activists. On Dec. 14, Bay Area legends Souls of Mischief perform and screen their documentary film, \u003cem>‘Til Infinity\u003c/em>, by Shomari Smith. On Feb. 8, Ericka Huggins, former head of the Black Panther Party’s school, leads a workshop in a reconstructed Party school classroom, complete with archival texts and lesson plans. On Feb. 15, Fredrika Newton, widow of the late Huey P. Newton, speaks at the museum about love.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’ll be giving a talk that’s really a fireside chat,” Newton tells me over the phone. “This will be a glimpse at Huey and I, our story together—with the theme being love.” (Not only is Newton’s talk coming one day after Valentines Day, it’s also two days before what would have been Huey P. Newton’s birthday.)\u003c/p>\n\u003cp>Mrs. Newton says people can expect “a first person story—this iconic figure was more than a one-dimensional character. He was a family man. When people become iconic, they’re held to an impossible standard, and he gets seen as infallible. This is a human piece of him. That’s the person I knew and loved. I didn’t know the man in the wicker chair. I didn’t even \u003cem>have\u003c/em> a wicker chair,” Newton says, with a laugh.\u003c/p>\n\u003cp>“It also gives us a chance to talk about what the foundation is doing,” adds Newton, mentioning that the Dr. Huey P. Newton Foundation is currently working to establish a museum of its own, a traveling exhibition and a permanent monument to the Black Panther Party somewhere in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13868547\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868547\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Herb-Robinson-Brother-and-S.jpg\" alt=\"Herb Robinson, 'Brother and Sister,' 1973.\" width=\"640\" height=\"477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Herb-Robinson-Brother-and-S.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Herb-Robinson-Brother-and-S-160x119.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Herb Robinson, ‘Brother and Sister,’ 1973. \u003ccite>(© Herb Robinson, Image courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One thing is sure: there’s clearly a hunger for exhibitions and programming like \u003cem>Soul of a Nation\u003c/em>. Three years ago, when the Oakland Museum of California hosted a Black Panther Party exhibition, \u003ci>All Power to the People: Black Panthers at 50\u003c/i>, the museum saw the highest amount of traffic it ever had for an exhibition, with a total of 84,000 visitors.\u003c/p>\n\u003cp>Let’s hope other fine arts institutions take note.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"'Soul of a Nation: Art in The Age of Black Power' opens Nov. 9 in San Francisco with the sort of party not often seen in a fine arts institution.","status":"publish","parent":0,"modified":1705021946,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1141},"headData":{"title":"Black Power, With a Bay Area Twist, at the de Young Museum | KQED","description":"'Soul of a Nation: Art in The Age of Black Power' opens Nov. 9 in San Francisco with the sort of party not often seen in a fine arts institution.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Black Power, With a Bay Area Twist, at the de Young Museum","datePublished":"2019-10-21T23:34:43.000Z","dateModified":"2024-01-12T01:12:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","startTime":1573290000,"endTime":1584338400,"startTimeString":"Nov. 9, 2019–March 15, 2020","venueName":"de Young Museum","venueAddress":"50 Hagiwara Tea Garden Dr., San Francisco","eventLink":"https://deyoung.famsf.org/exhibitions/soul-of-a-nation","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13868279/black-power-with-a-bay-area-twist-at-the-de-young-museum","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The exhibition \u003cem>Soul of a Nation: Art in the Age of Black Power 1963–1983\u003c/em> premiered at the \u003ca href=\"https://www.tate.org.uk/whats-on/tate-modern/exhibition/soul-nation-art-age-black-power\" target=\"_blank\" rel=\"noopener noreferrer\">Tate Modern in London\u003c/a> in 2017, has traveled to the \u003ca href=\"https://www.thebroad.org/soul-of-a-nation\" target=\"_blank\" rel=\"noopener noreferrer\">Broad Musuem\u003c/a> in Los Angeles, and, starting Nov. 9, will call San Francisco home through March 2020.\u003c/p>\n\u003cp>It features the works of artists Romare Bearden, Charles Alston, Norman Lewis and Hale Woodruff, who founded the legendary \u003ca href=\"https://www.artsy.net/gene/spiral-group\" target=\"_blank\" rel=\"noopener noreferrer\">Spiral Group\u003c/a> in the mid-’60s. Also included are the works of the \u003ca href=\"https://www.theguardian.com/artanddesign/2018/jun/15/africobra-now-exhibition-new-york-black-arts-movement\" target=\"_blank\" rel=\"noopener noreferrer\">AfriCOBRA\u003c/a> group (the African Commune of Bad Relevant Artists), which originated in Chicago in the late ’60s; one of their more famous contributions to the movement is \u003cem>\u003ca href=\"https://www.africobranow.com/wall-of-respect\" target=\"_blank\" rel=\"noopener noreferrer\">The Wall of Respect\u003c/a>\u003c/em>. And there’s work from the group Just Above Midtown (JAM), created in 1974 by \u003ca href=\"https://www.nytimes.com/2019/10/11/nyregion/linda-goode-bryant-project-eats.html\" target=\"_blank\" rel=\"noopener noreferrer\">Linda Goode Bryant\u003c/a>.\u003c/p>\n\u003cp>To kick things off on Nov. 9 is \u003ca href=\"https://www.famsf.org/press-room/all-power-people-de-young-museum-announces-extensive-slew-programming-tied-soul-nation\" target=\"_blank\" rel=\"noopener noreferrer\">a day-long block party\u003c/a> during which admission is totally free, with a workshop by San Francisco’s own Malik Senefru and performances from R&B, rap and jazz artists like Martin Luther, Vocal Rush, Sistah Iminah, Howard Wiley, Ruby Ibarra and Aneesa Strings.\u003c/p>\n\u003cp>Tell all this to your average Bay Area art fan, and they’d probably have a hard time guessing the venue: the de Young Museum.\u003c/p>\n\u003cfigure id=\"attachment_13868544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Rhythmic-Cigarettes-Tate-2-800x556.jpg\" alt=\"Al Fennar, 'Rythmic Cigarettes, Greenwich Village, New York 1964,' 1964. Photograph, gelatin silver print on paper. \" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Rhythmic-Cigarettes-Tate-2-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Rhythmic-Cigarettes-Tate-2-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Rhythmic-Cigarettes-Tate-2-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Rhythmic-Cigarettes-Tate-2-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Rhythmic-Cigarettes-Tate-2-1200x834.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Rhythmic-Cigarettes-Tate-2.jpg 1246w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Al Fennar, ‘Rythmic Cigarettes, Greenwich Village, New York 1964,’ 1964. Photograph, gelatin silver print on paper. \u003ccite>(© The Estate of Albert R. Fennar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>How’d the “the most visited art museum west of the Mississippi” (according to \u003cem>The Art Newspaper\u003c/em> in 2012) get into throwing an event celebrating black power?\u003c/p>\n\u003cp>“Last November the de Young hired \u003ca href=\"https://www.kqed.org/arts/13843927/thomas-campbell-former-met-director-to-head-de-young-and-legion-of-honor\" target=\"_blank\" rel=\"noopener noreferrer\">Thomas Campbell\u003c/a> as the new executive director, after a few years of rocky times,” says Francesca D’alessio, the de Young’s senior manager of public programs. (Those rocky times include going through four executive directors in the past decade.) But now, she says, the museum wants to turn a new leaf.\u003c/p>\n\u003cp>“The de Young needs to be rooted again in community,” D’alessio says. “After all, it is the city’s museum.”\u003c/p>\n\u003cp>In working to build those bridges, the museum recently launched a \u003ca href=\"https://www.kqed.org/arts/13849706/fine-arts-museums-to-offer-free-general-admission-to-sf-residents\" target=\"_blank\" rel=\"noopener noreferrer\">free Saturday admission\u003c/a> program for all San Francisco residents. In November, the entire museum will be free on select Saturdays—and that’s for all folks, not just San Francisco residents.\u003c/p>\n\u003cfigure id=\"attachment_13868546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868546\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/BarkleyHenricls-800x632.jpg\" alt=\"Barkley L. Hendricks, "What's Going On", 1974, oil, acrylic, and magna on cotton canvas.\" width=\"800\" height=\"632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BarkleyHenricls-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BarkleyHenricls-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BarkleyHenricls-768x606.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BarkleyHenricls-1020x805.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BarkleyHenricls.jpg 1097w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Barkley L. Hendricks, “What’s Going On”, 1974, oil, acrylic, and magna on cotton canvas. \u003ccite>(© Estate of Barkley L. Hendricks. Courtesy of the artist’s estate and Jack Shainman Gallery, New York.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, “de Young” and “black power” in the same sentence just sounds weird. It’s the same museum where the ever-controversial and influential \u003ca href=\"https://www.kqed.org/arts/13858996/dede-wilsey-steps-down-as-board-president-from-de-young-legion-of-honor\" target=\"_blank\" rel=\"noopener noreferrer\">Dede Wilsey\u003c/a> stepped down from her role as president and chair of the board of trustees that oversees the museum (as well as its neighboring fine arts establishment, the Legion of Honor) earlier this year. Wilsey, an investor in the arts and a donor to the Republican party, still remains involved in the museum as chair emerita.\u003c/p>\n\u003cp>“If you know anything about the de Young, this is the most culturally black thing I’ve seen them do,” says Jahi of Public Enemy Radio, one of the curators of the Nov. 9 block party.\u003c/p>\n\u003cp>Jahi, who’s called the Bay Area home for 20 years, tells me that from his own experience and that of the many musicians he knows, “I know a lot of the struggles people face when it comes to getting on a big stage out here.” Often, he adds, local talent will usually only be used as an opening act for national or international artists, especially at major venues like a world-renowned museum.\u003c/p>\n\u003cfigure id=\"attachment_13852477\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852477\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/0-3-800x535.jpg\" alt=\"Aneesa Strings and an upright bass bond at Oaktown Jazz Workshops\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/0-3-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/0-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/0-3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/0-3-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/0-3-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/0-3.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aneesa Strings is among the performers at the de Young’s free kickoff party for ‘Soul of a Nation’ on Nov. 9. \u003ccite>(Pendarvis Harshaw/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, when he was given the opportunity, “I just booked all of the great Bay Area artists I could think of,” Jahi says. “To see them all on the same bill, on the same day, man! I just wanted to create something that I’d look at and say, ‘I’ll take the family and be there all day.’”\u003c/p>\n\u003cp>Beyond the local kickoff, scheduled events during the exhibition’s 18-week run are also curated by Bay Area artists and activists. On Dec. 14, Bay Area legends Souls of Mischief perform and screen their documentary film, \u003cem>‘Til Infinity\u003c/em>, by Shomari Smith. On Feb. 8, Ericka Huggins, former head of the Black Panther Party’s school, leads a workshop in a reconstructed Party school classroom, complete with archival texts and lesson plans. On Feb. 15, Fredrika Newton, widow of the late Huey P. Newton, speaks at the museum about love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ll be giving a talk that’s really a fireside chat,” Newton tells me over the phone. “This will be a glimpse at Huey and I, our story together—with the theme being love.” (Not only is Newton’s talk coming one day after Valentines Day, it’s also two days before what would have been Huey P. Newton’s birthday.)\u003c/p>\n\u003cp>Mrs. Newton says people can expect “a first person story—this iconic figure was more than a one-dimensional character. He was a family man. When people become iconic, they’re held to an impossible standard, and he gets seen as infallible. This is a human piece of him. That’s the person I knew and loved. I didn’t know the man in the wicker chair. I didn’t even \u003cem>have\u003c/em> a wicker chair,” Newton says, with a laugh.\u003c/p>\n\u003cp>“It also gives us a chance to talk about what the foundation is doing,” adds Newton, mentioning that the Dr. Huey P. Newton Foundation is currently working to establish a museum of its own, a traveling exhibition and a permanent monument to the Black Panther Party somewhere in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13868547\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868547\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Herb-Robinson-Brother-and-S.jpg\" alt=\"Herb Robinson, 'Brother and Sister,' 1973.\" width=\"640\" height=\"477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Herb-Robinson-Brother-and-S.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Herb-Robinson-Brother-and-S-160x119.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Herb Robinson, ‘Brother and Sister,’ 1973. \u003ccite>(© Herb Robinson, Image courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One thing is sure: there’s clearly a hunger for exhibitions and programming like \u003cem>Soul of a Nation\u003c/em>. Three years ago, when the Oakland Museum of California hosted a Black Panther Party exhibition, \u003ci>All Power to the People: Black Panthers at 50\u003c/i>, the museum saw the highest amount of traffic it ever had for an exhibition, with a total of 84,000 visitors.\u003c/p>\n\u003cp>Let’s hope other fine arts institutions take note.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13868279/black-power-with-a-bay-area-twist-at-the-de-young-museum","authors":["11491"],"programs":["arts_140"],"categories":["arts_2303","arts_835","arts_70"],"tags":["arts_2767","arts_1209","arts_1118","arts_8926","arts_2683","arts_1420","arts_8924"],"featImg":"arts_13868545","label":"arts_140"},"arts_13832460":{"type":"posts","id":"arts_13832460","meta":{"index":"posts_1591205157","site":"arts","id":"13832460","score":null,"sort":[1526504990000]},"guestAuthors":[],"slug":"an-overflow-of-oakland-culture-at-the-malcolm-x-jazz-arts-festival","title":"An Overflow of Oakland Culture at the Malcolm X Jazz Arts Festival","publishDate":1526504990,"format":"standard","headTitle":"An Overflow of Oakland Culture at the Malcolm X Jazz Arts Festival | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Longtime Bay Area hip-hop fans mourned the passing last December of Pam the Funkstress, the pioneering East Bay DJ who backed both The Coup and, before he died, Prince. A tribute to Pam is just one of the dozens of reasons to head to the \u003ca href=\"https://www.facebook.com/events/872665479587831/\" rel=\"noopener\" target=\"_blank\">Malcolm X Jazz Arts Festival\u003c/a>, a huge outdoor celebration of art and music.\u003c/p>\n\u003cp>Both I and my co-host this week, Ariana Proehl, have been to the festival in years past, and it’s always a great vibe and crowd. Vendors, live painting and graffiti art, a jazz stage, dance stage, poetry stage, DJs are all on the schedule, but you really never know what you’ll stumble on there, and that’s part of the festival’s appeal — the community always turns out for it. \u003c/p>\n\u003cp>Things we’re looking forward to include Bay Area favorite DJ LadyRyan, Oakland-based musical artist Jennifer Johns, poet and activist Tanea Lunsford Lynx, the terrific jazz saxophonist Howard Wiley, the poet and MC Jahi, and of course the tribute to Pam the Funkstress. That’s the Malcolm X Jazz Arts Festival at San Antonio Park in Oakland, on Saturday, May 19 — the festival runs all day and admission is free. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Jazz combos, graffiti art, poetry, dance performances, DJs and much more fill the park at this annual event — one of our favorites.","status":"publish","parent":0,"modified":1705027847,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":213},"headData":{"title":"An Overflow of Oakland Culture at the Malcolm X Jazz Arts Festival | KQED","description":"Jazz combos, graffiti art, poetry, dance performances, DJs and much more fill the park at this annual event — one of our favorites.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"An Overflow of Oakland Culture at the Malcolm X Jazz Arts Festival","datePublished":"2018-05-16T21:09:50.000Z","dateModified":"2024-01-12T02:50:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13832460/an-overflow-of-oakland-culture-at-the-malcolm-x-jazz-arts-festival","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Longtime Bay Area hip-hop fans mourned the passing last December of Pam the Funkstress, the pioneering East Bay DJ who backed both The Coup and, before he died, Prince. A tribute to Pam is just one of the dozens of reasons to head to the \u003ca href=\"https://www.facebook.com/events/872665479587831/\" rel=\"noopener\" target=\"_blank\">Malcolm X Jazz Arts Festival\u003c/a>, a huge outdoor celebration of art and music.\u003c/p>\n\u003cp>Both I and my co-host this week, Ariana Proehl, have been to the festival in years past, and it’s always a great vibe and crowd. Vendors, live painting and graffiti art, a jazz stage, dance stage, poetry stage, DJs are all on the schedule, but you really never know what you’ll stumble on there, and that’s part of the festival’s appeal — the community always turns out for it. \u003c/p>\n\u003cp>Things we’re looking forward to include Bay Area favorite DJ LadyRyan, Oakland-based musical artist Jennifer Johns, poet and activist Tanea Lunsford Lynx, the terrific jazz saxophonist Howard Wiley, the poet and MC Jahi, and of course the tribute to Pam the Funkstress. That’s the Malcolm X Jazz Arts Festival at San Antonio Park in Oakland, on Saturday, May 19 — the festival runs all day and admission is free. \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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13832460/an-overflow-of-oakland-culture-at-the-malcolm-x-jazz-arts-festival","authors":["185"],"programs":["arts_140"],"categories":["arts_835","arts_69"],"tags":["arts_3649","arts_2683","arts_1420","arts_596"],"featImg":"arts_13832468","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. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. 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