Expect the Unexpected at Other Minds 25, SF’s Avant-Jazz Festival
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For the past 15 years or so, the retired TV producer and head of development for long-shuttered online retailer reel.com has been hosting intimate performances by Tuvan throat singers, modern classical composer David A. Jaffe and countless other artists at his home in Berkeley.\u003c/p>\n\u003cp>But when Bernstein was in 2019 asked to curate a festival for the 25th anniversary of \u003ca href=\"https://www.otherminds.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Other Minds\u003c/a>, the new and experimental music organization, he had no idea of the difficulties he would face.\u003c/p>\n\u003cp>“It was originally scheduled for March 2020,” Bernstein says. “We were set to go. The program guide was printed. We were selling tickets. And then, boom, the world changed. I was a little over-optimistic because I rescheduled it twice thinking that the pandemic was coming to an end. Now, I’m confident that the festival is going forward, but up until a month ago, I was holding my breath.”\u003c/p>\n\u003cp>Bernstein will have the chance to more fully exhale when Other Minds 25 gets underway on Oct. 14 at the \u003ca href=\"https://www.symphonyparnassus.org/taube-atrium-theater\" target=\"_blank\" rel=\"noopener noreferrer\">Taube Atrium Theater\u003c/a>, the event space situated within the San Francisco War Memorial Complex. The four day festival, subtitled “Moment’s Notice,” boasts a jaw-dropping lineup of living legends and young talents from the world of avant-jazz. [aside postid='arts_13904489']\u003c/p>\n\u003cp>It kicks off on Thursday evening with pianist Myra Melford and bassist Mark Dresser, accompanied by the modern dancer Oguri, and wraps up on Sunday the 17th with a set of saxophone duets from pioneering experimental composer \u003ca href=\"https://www.kqed.org/arts/13873747/concerts-for-living-legend-anthony-braxton-light-up-bay-area-jazz-scene\" target=\"_blank\" rel=\"noopener noreferrer\">Anthony Braxton\u003c/a> and sound artist and Mills College professor James Fei. In between, attendees will hear performances by celebrated artists like Roscoe Mitchell, Tyshawn Sorey and Mary Halvorson.\u003c/p>\n\u003cfigure id=\"attachment_13904533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904533\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/File_008-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/File_008-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/File_008-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/File_008-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/File_008-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/File_008-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/File_008.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Percussionist and composer Tyshawn Sorey is one of the revered avant-jazz artists performing at Other Minds 25. \u003ccite>(John Rogers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Bernstein knows who will be performing at Other Minds 25, in most cases, he doesn’t know what they will be playing. Nearly every set taking place at the festival will be improvised. As well, he left up to many of the artists to choose the other musicians they would be performing with. “By and large, I put together the initial list of people I wanted in the festival,” Bernstein says, “but I left it to him or her to put together the group. I mean, it would be ridiculous to impose on Anthony Braxton. It wouldn’t get very far. I don’t think that would endear me to him.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many of the musicians opted to work with those they’ve recorded or performed with in the past. Electronic artist Ikue Mori, playing on Thursday the 14th, chose frequent collaborators harpist Zeena Parkins and percussionist William Winant.\u003c/p>\n\u003cp>William Parker has worked with percussionist Hamid Drake for decades. When they take the stage on Friday, Oct. 15, not only will Parker trade in his usual standup bass for bass flutes and brass, but the pair will be joined by dancer Patricia Nicholson.\u003c/p>\n\u003cfigure id=\"attachment_13873964\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873964\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06-800x450.jpg\" alt=\"Avant-garde composer Anthony Braxton made an indelible mark on jazz in the Bay Area and beyond.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Avant-garde composer Anthony Braxton has left an indelible mark on jazz in the Bay Area and beyond. \u003ccite>(Peter Gannushkin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One part of the festival lineup that truly surprised Bernstein was when Sorey asked to be paired with King Britt, a producer and composer best known for his work in electronic dance music. “The fact that Tyshawn is performing with him is a testament to his astonishing eclecticism,” says Bernstein. “It’s really quite something.”\u003c/p>\n\u003cp>Even in the weeks leading up to the festival, Bernstein has had hurdles to clear. Trumpeter Ambrose Akinmusire was to be part of an ensemble that included Roscoe Mitchell, bassist Junius Paul and drummer Vincent Davis but had to drop off the bill. (The other three musicians will still be performing.) 2012 Pulitzer finalist Wadada Leo Smith was booked to play a solo set, but the 79-year-old trumpet player was advised by his doctors to avoid traveling right now. [aside postid='arts_13887363']\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Luckily, Bernstein has a long list of Bay Area musicians he could call on to fill the gap in the schedule, which is how Saturday’s performance by drummer Donald Robinson and saxophonist Larry Ochs came together. “This duo is always kind of there,” Ochs says. “Donald lives 15 minutes from me so we quote-unquote rehearse a lot, which is playing but talking about lots of other things. It’s nice to have the opportunity. I mean, I have to admit I was going to go to the festival anyway.”\u003c/p>\n\n","blocks":[],"excerpt":"Roscoe Mitchell, Anthony Braxton, Tyshawn Sorey and others will play mostly improvised sets Oct. 14-17.","status":"publish","parent":0,"modified":1705007623,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":781},"headData":{"title":"Roscoe Mitchell, Anthony Braxton Perform at Other Minds 25 in SF | KQED","description":"Roscoe Mitchell, Anthony Braxton, Tyshawn Sorey and others will play mostly improvised sets Oct. 14-17.","ogTitle":"Expect the Unexpected at Other Minds 25, SF’s Avant-Jazz Festival","ogDescription":"","ogImgId":"","twTitle":"Expect the Unexpected at Other Minds 25, SF’s Avant-Jazz Festival","twDescription":"","twImgId":"","socialTitle":"Roscoe Mitchell, Anthony Braxton Perform at Other Minds 25 in SF %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Expect the Unexpected at Other Minds 25, SF’s Avant-Jazz Festival","datePublished":"2021-10-12T23:31:20.000Z","dateModified":"2024-01-11T21:13:43.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Robert Ham","templateType":"standard","featuredImageType":"standard","path":"/arts/13904524/expect-the-unexpected-at-other-minds-25-sfs-avant-jazz-festival","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Harry Bernstein is no stranger to the challenges of organizing live events. For the past 15 years or so, the retired TV producer and head of development for long-shuttered online retailer reel.com has been hosting intimate performances by Tuvan throat singers, modern classical composer David A. Jaffe and countless other artists at his home in Berkeley.\u003c/p>\n\u003cp>But when Bernstein was in 2019 asked to curate a festival for the 25th anniversary of \u003ca href=\"https://www.otherminds.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Other Minds\u003c/a>, the new and experimental music organization, he had no idea of the difficulties he would face.\u003c/p>\n\u003cp>“It was originally scheduled for March 2020,” Bernstein says. “We were set to go. The program guide was printed. We were selling tickets. And then, boom, the world changed. I was a little over-optimistic because I rescheduled it twice thinking that the pandemic was coming to an end. Now, I’m confident that the festival is going forward, but up until a month ago, I was holding my breath.”\u003c/p>\n\u003cp>Bernstein will have the chance to more fully exhale when Other Minds 25 gets underway on Oct. 14 at the \u003ca href=\"https://www.symphonyparnassus.org/taube-atrium-theater\" target=\"_blank\" rel=\"noopener noreferrer\">Taube Atrium Theater\u003c/a>, the event space situated within the San Francisco War Memorial Complex. The four day festival, subtitled “Moment’s Notice,” boasts a jaw-dropping lineup of living legends and young talents from the world of avant-jazz. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13904489","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It kicks off on Thursday evening with pianist Myra Melford and bassist Mark Dresser, accompanied by the modern dancer Oguri, and wraps up on Sunday the 17th with a set of saxophone duets from pioneering experimental composer \u003ca href=\"https://www.kqed.org/arts/13873747/concerts-for-living-legend-anthony-braxton-light-up-bay-area-jazz-scene\" target=\"_blank\" rel=\"noopener noreferrer\">Anthony Braxton\u003c/a> and sound artist and Mills College professor James Fei. In between, attendees will hear performances by celebrated artists like Roscoe Mitchell, Tyshawn Sorey and Mary Halvorson.\u003c/p>\n\u003cfigure id=\"attachment_13904533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904533\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/File_008-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/File_008-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/File_008-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/File_008-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/File_008-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/File_008-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/File_008.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Percussionist and composer Tyshawn Sorey is one of the revered avant-jazz artists performing at Other Minds 25. \u003ccite>(John Rogers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Bernstein knows who will be performing at Other Minds 25, in most cases, he doesn’t know what they will be playing. Nearly every set taking place at the festival will be improvised. As well, he left up to many of the artists to choose the other musicians they would be performing with. “By and large, I put together the initial list of people I wanted in the festival,” Bernstein says, “but I left it to him or her to put together the group. I mean, it would be ridiculous to impose on Anthony Braxton. It wouldn’t get very far. I don’t think that would endear me to him.”\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>Many of the musicians opted to work with those they’ve recorded or performed with in the past. Electronic artist Ikue Mori, playing on Thursday the 14th, chose frequent collaborators harpist Zeena Parkins and percussionist William Winant.\u003c/p>\n\u003cp>William Parker has worked with percussionist Hamid Drake for decades. When they take the stage on Friday, Oct. 15, not only will Parker trade in his usual standup bass for bass flutes and brass, but the pair will be joined by dancer Patricia Nicholson.\u003c/p>\n\u003cfigure id=\"attachment_13873964\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873964\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06-800x450.jpg\" alt=\"Avant-garde composer Anthony Braxton made an indelible mark on jazz in the Bay Area and beyond.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Anthony_Braxton_by_Peter_Gannushkin-06.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Avant-garde composer Anthony Braxton has left an indelible mark on jazz in the Bay Area and beyond. \u003ccite>(Peter Gannushkin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One part of the festival lineup that truly surprised Bernstein was when Sorey asked to be paired with King Britt, a producer and composer best known for his work in electronic dance music. “The fact that Tyshawn is performing with him is a testament to his astonishing eclecticism,” says Bernstein. “It’s really quite something.”\u003c/p>\n\u003cp>Even in the weeks leading up to the festival, Bernstein has had hurdles to clear. Trumpeter Ambrose Akinmusire was to be part of an ensemble that included Roscoe Mitchell, bassist Junius Paul and drummer Vincent Davis but had to drop off the bill. (The other three musicians will still be performing.) 2012 Pulitzer finalist Wadada Leo Smith was booked to play a solo set, but the 79-year-old trumpet player was advised by his doctors to avoid traveling right now. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13887363","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Luckily, Bernstein has a long list of Bay Area musicians he could call on to fill the gap in the schedule, which is how Saturday’s performance by drummer Donald Robinson and saxophonist Larry Ochs came together. “This duo is always kind of there,” Ochs says. “Donald lives 15 minutes from me so we quote-unquote rehearse a lot, which is playing but talking about lots of other things. It’s nice to have the opportunity. I mean, I have to admit I was going to go to the festival anyway.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13904524/expect-the-unexpected-at-other-minds-25-sfs-avant-jazz-festival","authors":["byline_arts_13904524"],"categories":["arts_1"],"tags":["arts_3607","arts_10278","arts_1420","arts_2297","arts_585"],"featImg":"arts_13389912","label":"arts"},"arts_13885079":{"type":"posts","id":"arts_13885079","meta":{"index":"posts_1591205157","site":"arts","id":"13885079","score":null,"sort":[1597958834000]},"guestAuthors":[],"slug":"watch-nea-jazz-masters-virtual-concert-with-roscoe-mitchell-bobby-mcferrin","title":"Watch: NEA Jazz Masters Virtual Concert with Roscoe Mitchell, Bobby McFerrin","publishDate":1597958834,"format":"standard","headTitle":"Watch: NEA Jazz Masters Virtual Concert with Roscoe Mitchell, Bobby McFerrin | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When the National Endowment for the Arts announced its 2020 Jazz Masters Fellowship honorees last year, the Bay Area’s music community geared up to honor them at SFJAZZ with a concert and ceremony. Because of the pandemic, that celebration now taking place online.\u003c/p>\n\u003cp>Two of the four recipients of the prestigious honor and $25,000 grant made a deep impact on the Bay Area’s jazz scene. Saxophonist Roscoe Mitchell was a key figure in Chicago’s avant-garde jazz circles in the ’60s with the Art Ensemble of Chicago, and taught at Mills College’s until he retired in 2018. Bobby McFerrin, best known for the pop hit “Don’t Worry, Be Happy,” is a 10-time Grammy-winning jazz vocalist who started his career in San Francisco. The other 2020 honorees are bassist Reggie Workman, best known for his work with John Coltrane and Thelonious Monk, and Dorthaan Kirk from Newark Public Radio.\u003c/p>\n\u003cp>Tonight at 5pm PDT, the celebration of the 2020 NEA Jazz Masters will stream on YouTube as a one-time-only concert hosted by the NEA and SFJAZZ. In addition to the honorees, acclaimed jazz musicians Christian McBride, Lisa Fischer, Ambrose Akinmusire, James Carter, Gerald Clayton, Vincent Davis, Oliver Lake, Taylor McFerrin and others will perform. 2017 NEA Jazz Master Dee Dee Bridgewater will host the event, which was coordinated by music director, drummer and composer Terri Lyne Carrington. A Q&A with SFJAZZ founder and executive artistic director Randall Kline will follow.\u003c/p>\n\u003cp>Watch the concert below or \u003ca href=\"https://youtu.be/IOKZjZFtcN4\" target=\"_blank\" rel=\"noopener noreferrer\">on the NEA’s YouTube channel\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen src=\"https://www.youtube.com/embed/IOKZjZFtcN4\" width=\"560\" height=\"315\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The concert streams tonight at 5pm.","status":"publish","parent":0,"modified":1705020250,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":272},"headData":{"title":"Watch: NEA Jazz Masters Virtual Concert with Roscoe Mitchell, Bobby McFerrin | KQED","description":"The concert streams tonight at 5pm.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Watch: NEA Jazz Masters Virtual Concert with Roscoe Mitchell, Bobby McFerrin","datePublished":"2020-08-20T21:27:14.000Z","dateModified":"2024-01-12T00:44:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13885079/watch-nea-jazz-masters-virtual-concert-with-roscoe-mitchell-bobby-mcferrin","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the National Endowment for the Arts announced its 2020 Jazz Masters Fellowship honorees last year, the Bay Area’s music community geared up to honor them at SFJAZZ with a concert and ceremony. Because of the pandemic, that celebration now taking place online.\u003c/p>\n\u003cp>Two of the four recipients of the prestigious honor and $25,000 grant made a deep impact on the Bay Area’s jazz scene. Saxophonist Roscoe Mitchell was a key figure in Chicago’s avant-garde jazz circles in the ’60s with the Art Ensemble of Chicago, and taught at Mills College’s until he retired in 2018. Bobby McFerrin, best known for the pop hit “Don’t Worry, Be Happy,” is a 10-time Grammy-winning jazz vocalist who started his career in San Francisco. The other 2020 honorees are bassist Reggie Workman, best known for his work with John Coltrane and Thelonious Monk, and Dorthaan Kirk from Newark Public Radio.\u003c/p>\n\u003cp>Tonight at 5pm PDT, the celebration of the 2020 NEA Jazz Masters will stream on YouTube as a one-time-only concert hosted by the NEA and SFJAZZ. In addition to the honorees, acclaimed jazz musicians Christian McBride, Lisa Fischer, Ambrose Akinmusire, James Carter, Gerald Clayton, Vincent Davis, Oliver Lake, Taylor McFerrin and others will perform. 2017 NEA Jazz Master Dee Dee Bridgewater will host the event, which was coordinated by music director, drummer and composer Terri Lyne Carrington. A Q&A with SFJAZZ founder and executive artistic director Randall Kline will follow.\u003c/p>\n\u003cp>Watch the concert below or \u003ca href=\"https://youtu.be/IOKZjZFtcN4\" target=\"_blank\" rel=\"noopener noreferrer\">on the NEA’s YouTube channel\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen src=\"https://www.youtube.com/embed/IOKZjZFtcN4\" width=\"560\" height=\"315\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"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/13885079/watch-nea-jazz-masters-virtual-concert-with-roscoe-mitchell-bobby-mcferrin","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_1420","arts_2269","arts_2297","arts_585"],"featImg":"arts_13885086","label":"arts_140"},"arts_13857895":{"type":"posts","id":"arts_13857895","meta":{"index":"posts_1591205157","site":"arts","id":"13857895","score":null,"sort":[1558469941000]},"guestAuthors":[],"slug":"nea-jazz-masters-announced-tribute-concert-coming-to-san-francisco","title":"NEA Jazz Masters Announced; Tribute Concert Coming to San Francisco","publishDate":1558469941,"format":"standard","headTitle":"NEA Jazz Masters Announced; Tribute Concert Coming to San Francisco | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The National Endowment for the Arts (NEA) on Tuesday announced the honorees of its \u003ca href=\"https://www.arts.gov/news/2019/national-endowment-arts-announces-2020-nea-jazz-masters\" target=\"_blank\" rel=\"noopener\">2020 Jazz Masters Fellowship\u003c/a>, a grant of up to $25,000 reserved for the genre’s boundary-pushers, innovators and advocates. Two of the four selected musicians have deep ties to the Bay Area.\u003c/p>\n\u003cp>Saxophonist Roscoe Mitchell, who was key to the formation of Chicago’s avant-garde jazz scene in the ’60s with the Art Ensemble of Chicago, served as one of Mills College’s most renowned faculty members in Oakland \u003ca href=\"https://www.kqed.org/arts/13845889/roscoe-mitchell-jazz-iconoclast-bids-the-bay-farewell-with-intimate-gigs\" target=\"_blank\" rel=\"noopener\">until his recent retirement\u003c/a>. And Bobby McFerrin, best known for the novelty pop hit “Don’t Worry, Be Happy,” is a 10-time Grammy-winning jazz vocalist who started his career in San Francisco and even once guest-conducted the San Francisco Symphony.\u003c/p>\n\u003cp>The Jazz Masters Fellows are nominated by the public and selected by a panel of industry professionals. Previous recipients have included Ella Fitzgerald, Sonny Rollins and Miles Davis, and the NEA \u003ca href=\"https://www.arts.gov/honors/jazz\" target=\"_blank\" rel=\"noopener\">documents\u003c/a> honorees’ careers online through podcasts, videos and other multimedia. The other 2020 honorees are bassist Reggie Workman, best known for his work with John Coltrane and Thelonious Monk, and Dorthaan Kirk from Newark Public Radio.\u003c/p>\n\u003cp>“The 2020 NEA Jazz Masters have made an incredible impact on jazz, whether it’s through their artistic work to expand the musical boundaries of the genre, their educational contributions, or their efforts to reach new audiences for jazz,” said Acting Chairman of the Arts Endowment Mary Anne Carter in a statement.\u003c/p>\n\u003cp>In addition, the NEA celebrates this year’s honorees with a \u003ca href=\"https://www.sfjazz.org/tickets/events/2020-jazz-masters-tribute-concert/\" target=\"_blank\" rel=\"noopener\">free tribute concert\u003c/a> at SFJAZZ on April 2, 2020—the first time the Jazz Masters Fellowship concert has taken place in the Bay Area since 2005. Tickets will become available in February 2020, and there will also be a live stream of the concert.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Avant-garde saxophonist Roscoe Mitchell and vocalist Bobby McFerrin are among the 2020 recipients. ","status":"publish","parent":0,"modified":1705026174,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":322},"headData":{"title":"NEA Jazz Masters Announced; Tribute Concert Coming to San Francisco | KQED","description":"Avant-garde saxophonist Roscoe Mitchell and vocalist Bobby McFerrin are among the 2020 recipients. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"NEA Jazz Masters Announced; Tribute Concert Coming to San Francisco","datePublished":"2019-05-21T20:19:01.000Z","dateModified":"2024-01-12T02:22:54.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13857895/nea-jazz-masters-announced-tribute-concert-coming-to-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The National Endowment for the Arts (NEA) on Tuesday announced the honorees of its \u003ca href=\"https://www.arts.gov/news/2019/national-endowment-arts-announces-2020-nea-jazz-masters\" target=\"_blank\" rel=\"noopener\">2020 Jazz Masters Fellowship\u003c/a>, a grant of up to $25,000 reserved for the genre’s boundary-pushers, innovators and advocates. Two of the four selected musicians have deep ties to the Bay Area.\u003c/p>\n\u003cp>Saxophonist Roscoe Mitchell, who was key to the formation of Chicago’s avant-garde jazz scene in the ’60s with the Art Ensemble of Chicago, served as one of Mills College’s most renowned faculty members in Oakland \u003ca href=\"https://www.kqed.org/arts/13845889/roscoe-mitchell-jazz-iconoclast-bids-the-bay-farewell-with-intimate-gigs\" target=\"_blank\" rel=\"noopener\">until his recent retirement\u003c/a>. And Bobby McFerrin, best known for the novelty pop hit “Don’t Worry, Be Happy,” is a 10-time Grammy-winning jazz vocalist who started his career in San Francisco and even once guest-conducted the San Francisco Symphony.\u003c/p>\n\u003cp>The Jazz Masters Fellows are nominated by the public and selected by a panel of industry professionals. Previous recipients have included Ella Fitzgerald, Sonny Rollins and Miles Davis, and the NEA \u003ca href=\"https://www.arts.gov/honors/jazz\" target=\"_blank\" rel=\"noopener\">documents\u003c/a> honorees’ careers online through podcasts, videos and other multimedia. The other 2020 honorees are bassist Reggie Workman, best known for his work with John Coltrane and Thelonious Monk, and Dorthaan Kirk from Newark Public Radio.\u003c/p>\n\u003cp>“The 2020 NEA Jazz Masters have made an incredible impact on jazz, whether it’s through their artistic work to expand the musical boundaries of the genre, their educational contributions, or their efforts to reach new audiences for jazz,” said Acting Chairman of the Arts Endowment Mary Anne Carter in a statement.\u003c/p>\n\u003cp>In addition, the NEA celebrates this year’s honorees with a \u003ca href=\"https://www.sfjazz.org/tickets/events/2020-jazz-masters-tribute-concert/\" target=\"_blank\" rel=\"noopener\">free tribute concert\u003c/a> at SFJAZZ on April 2, 2020—the first time the Jazz Masters Fellowship concert has taken place in the Bay Area since 2005. Tickets will become available in February 2020, and there will also be a live stream of the concert.\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/13857895/nea-jazz-masters-announced-tribute-concert-coming-to-san-francisco","authors":["11387"],"categories":["arts_69","arts_235"],"tags":["arts_1420","arts_1730","arts_2297"],"featImg":"arts_13389912","label":"arts"},"arts_13845889":{"type":"posts","id":"arts_13845889","meta":{"index":"posts_1591205157","site":"arts","id":"13845889","score":null,"sort":[1543507241000]},"guestAuthors":[],"slug":"roscoe-mitchell-jazz-iconoclast-bids-the-bay-farewell-with-intimate-gigs","title":"Roscoe Mitchell, Jazz Iconoclast, Bids the Bay Farewell With Intimate Gigs","publishDate":1543507241,"format":"standard","headTitle":"Roscoe Mitchell, Jazz Iconoclast, Bids the Bay Farewell With Intimate Gigs | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In his last local performances before leaving the Bay Area, Roscoe Mitchell appears twice next weekend at Mission District arts space The Lab. \u003c/p>\n\u003cp>The renowned saxophonist and composer’s professorship at Mills College in Oakland, where he was an essential draw of the storied music department, is coming to a close after eleven years. He plans to return to Madison, Wisconsin. \u003c/p>\n\u003cp>The Dec. 7 and 8 \u003ca href=\"https://www.thelab.org/projects/2018/12/7/roscoe-mitchell\">quartet dates\u003c/a>, with Ambrose Akinmusire, Junius Paul and Vincent Davis, promise a rare look at one of the world’s premier improvisers and ensemble leaders in an intimate setting. A cofounder of the Art Ensemble of Chicago and the Association for the Advancement of Creative Musicians, Mitchell has been at the vanguard of free and composed music for more than 50 years.\u003c/p>\n\u003cp>Yet last year, amid celebration of his stirring \u003cem>Bells for the South Side\u003c/em>, Mills administrators marked Mitchell and other faculty for dismissal in light of a budget shortfall. The plan prompted \u003ca href=\"https://www.eastbayexpress.com/oakland/mills-colleges-plan-to-ax-jazz-legend-roscoe-mitchell-draws-international-outrage/Content?oid=7523375\">international outcry\u003c/a>, and the college reversed course, but it only secured Mitchell for another year before his contract expired. \u003c/p>\n\u003cp>Hoping to avoid deeper cuts, Mills music fixtures Maggi Payne and Chris Brown also agreed to retire early. As Brown said of Mitchell’s departure last year, “It could cut the heart out of the department.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mitchell’s position at Mills, the Darius Milhaud Chair in Composition, has been held in the past by artists including Anthony Braxton and Pauline Oliveros. \u003c/p>\n\n","blocks":[],"excerpt":"The Mills College professorship of the renowned saxophonist and composer is ending after 11 years. ","status":"publish","parent":0,"modified":1705026945,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":247},"headData":{"title":"Roscoe Mitchell, Jazz Iconoclast, Bids the Bay Farewell With Intimate Gigs | KQED","description":"The Mills College professorship of the renowned saxophonist and composer is ending after 11 years. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Roscoe Mitchell, Jazz Iconoclast, Bids the Bay Farewell With Intimate Gigs","datePublished":"2018-11-29T16:00:41.000Z","dateModified":"2024-01-12T02:35:45.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13845889/roscoe-mitchell-jazz-iconoclast-bids-the-bay-farewell-with-intimate-gigs","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In his last local performances before leaving the Bay Area, Roscoe Mitchell appears twice next weekend at Mission District arts space The Lab. \u003c/p>\n\u003cp>The renowned saxophonist and composer’s professorship at Mills College in Oakland, where he was an essential draw of the storied music department, is coming to a close after eleven years. He plans to return to Madison, Wisconsin. \u003c/p>\n\u003cp>The Dec. 7 and 8 \u003ca href=\"https://www.thelab.org/projects/2018/12/7/roscoe-mitchell\">quartet dates\u003c/a>, with Ambrose Akinmusire, Junius Paul and Vincent Davis, promise a rare look at one of the world’s premier improvisers and ensemble leaders in an intimate setting. A cofounder of the Art Ensemble of Chicago and the Association for the Advancement of Creative Musicians, Mitchell has been at the vanguard of free and composed music for more than 50 years.\u003c/p>\n\u003cp>Yet last year, amid celebration of his stirring \u003cem>Bells for the South Side\u003c/em>, Mills administrators marked Mitchell and other faculty for dismissal in light of a budget shortfall. The plan prompted \u003ca href=\"https://www.eastbayexpress.com/oakland/mills-colleges-plan-to-ax-jazz-legend-roscoe-mitchell-draws-international-outrage/Content?oid=7523375\">international outcry\u003c/a>, and the college reversed course, but it only secured Mitchell for another year before his contract expired. \u003c/p>\n\u003cp>Hoping to avoid deeper cuts, Mills music fixtures Maggi Payne and Chris Brown also agreed to retire early. As Brown said of Mitchell’s departure last year, “It could cut the heart out of the department.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mitchell’s position at Mills, the Darius Milhaud Chair in Composition, has been held in the past by artists including Anthony Braxton and Pauline Oliveros. \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13845889/roscoe-mitchell-jazz-iconoclast-bids-the-bay-farewell-with-intimate-gigs","authors":["11091"],"programs":["arts_140"],"categories":["arts_69"],"tags":["arts_1118","arts_2299","arts_596","arts_2297","arts_1334","arts_4109"],"featImg":"arts_13389912","label":"arts_140"},"arts_13828181":{"type":"posts","id":"arts_13828181","meta":{"index":"posts_1591205157","site":"arts","id":"13828181","score":null,"sort":[1522257211000]},"guestAuthors":[],"slug":"jazzs-bleeding-edge-you-can-find-it-briefly-in-eastern-tennessee","title":"Jazz's Bleeding Edge? You Can Find It, Briefly, in Eastern Tennessee","publishDate":1522257211,"format":"standard","headTitle":"Jazz’s Bleeding Edge? You Can Find It, Briefly, in Eastern Tennessee | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Milford Graves and Jason Moran were listening hard at the Big Ears Festival on Friday evening, and in this they were far from alone. Their spontaneous musical dialogue, onstage at the elegant Bijou Theater in Knoxville, Tenn., suggested a merging of the ancient and the ultramodern, aglow with an ephemeral sort of grace. At one point, Moran’s deep, mournful sonorities at the piano led Graves toward a murmuring hush at the drums, as if anything else would break the spell.\u003c/p>\n\u003cp>Musically speaking, this was a first-time encounter for Graves, who at 76 is a sagacious elder in the improvising avant-garde, and Moran, 43, whose career has branched out from a position closer to jazz’s center. Their concert was a gemlike centerpiece of Big Ears 2018; capacity at the Bijou is 700, but even with several competing options on the schedule, a lot of people were turned away.\u003c/p>\n\u003cp>Standing in line, I struck up a conversation with a white-bearded Tennesseean who has never missed an edition of the festival. When I asked whether he’d been looking forward to Graves and Moran, he said he didn’t know a thing about either one. His eyes lit up as he said it, like a kid about to open a birthday present. He wasn’t a rare-sound partisan, or a practicing connoisseur; he had just learned to count on musical discovery at Big Ears. “The more bizarre, the better,” he told me.\u003c/p>\n\u003cp>Big Ears will do that to a person. Contained within a walkable radius of historic downtown Knoxville — in a range of ornate landmark theaters, refurbished industrial spaces, art galleries, churches, and clubs — it creates its own atmospheric climate, along with a center of gravity. From its first iteration in 2009, the festival has been a locus of expedition, defined more by a go-anywhere ethos than by any style or genre allegiance. For a few years, the event honored vanguardist classical composers like Terry Riley and Steve Reich. It has skipped some years over the last decade. This was its seventh edition — and my first, despite the best of intentions and the deepest of affinities.\u003c/p>\n\u003cfigure id=\"attachment_13828182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-800x450.jpg\" alt=\"Jason Moran, left, and Milford Graves, right, performing on the second day of the Big Ears Festival in Knoxville, Tennessee.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13828182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jason Moran, left, and Milford Graves, right, performing on the second day of the Big Ears Festival in Knoxville, Tennessee. \u003ccite>(Eli Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What led me to Big Ears this year, in part, was an unusually high quotient of experimental jazz — or one or another form of unnamable music, like Graves and Moran’s spirit trance, that bore a vestigial relationship to jazz. Increasingly, improvising artists across the style spectrum are accessing multiple vocabularies, reconciling divergent strategies, bringing other disciplines into the frame. This coalescence was also a hallmark of\u003ca href=\"https://www.npr.org/2017/10/18/558549535/at-ojai-music-festival-vijay-iyer-showcases-improvisation\"> last summer’s Ojai Music Festival\u003c/a>, programmed by pianist and composer Vijay Iyer. Like that inspiring event, which featured a few of the same artists, this year’s Big Ears felt right in tune with an emergent, exhilarating frontier. I see this not only as a hopeful turn in the festival’s model of inclusion but also as an indicator of present-day permissions around jazz’s state of the art.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moran is an obvious case in point. Along with the Graves duo, he played a show at the Mill & Mine, around midnight, with his Fats Waller Dance Party, creating a hallucinatory funk jam inspired by one of jazz’s foundational heroes. He also performed at the Bijou with BANGS, a trio that released\u003ca href=\"https://www.npr.org/2017/12/14/570561785/nate-chinens-top-10-actually-21-albums-of-2017\"> one of my favorite albums\u003c/a> last year and sounded even better here.\u003c/p>\n\u003cp>BANGS is all about Moran’s sensitive, shifting rapport with guitarist Mary Halvorson and cornetist Ron Miles, who each brought furious concentration to the task. Sometimes it sounded unmistakably like jazz, sometimes not. A seamless progression from the austere beauty of “White Space” (by Halvorson) to the pastoral reassurance of “Cupid” (by Miles) imparted the sensation of pure possibility, an open road under a billowing sky.\u003c/p>\n\u003cp>The festival abounded with other manifestations of this improv-activated, beyond-the-known-horizon sort of music, too many for a laundry list, let alone a concert agenda. But among other things: the formidable British saxophonist Evan Parker playing both a cathedral recital and in a pair of futuristic bands, his Electro-Acoustic Ensemble and the collective Rocket Science; a solitary explosion of sonic dimensions by trumpeter Peter Evans; two views on the violinist Jenny Scheinman, who first led Mischief & Mayhem, a raucous jazz-rock unit with Nels Cline on guitar and later presented ‘Kannopolis: A Moving Portrait,’ a found-footage-and-string-band experience steeped in Carolina twang; and the Tyshawn Sorey Trio, which developed like a high-pressure front, in an inexorable gyre. \u003c/p>\n\u003cfigure id=\"attachment_13828184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-800x450.jpg\" alt=\"Guitarist Nels Cline, left, with violinist Jenny Scheinman, left background, and bassist Todd Sickafoose of Mischief & Mayhem.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13828184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guitarist Nels Cline, left, with violinist Jenny Scheinman, left background, and bassist Todd Sickafoose of Mischief & Mayhem. \u003ccite>(Eli Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The pianist and reliable sound sorcerer Craig Taborn, whom I heard in four distinct contexts over the weekend, played the festival’s final slot with his superdynamic quartet. Introducing the band, which appears on his 2017 album \u003cem>Daylight Ghosts\u003c/em>, he gave a shout out to the Big Ears brain trust, “because it’s a festival that kind of represents how I listen to music.”\u003c/p>\n\u003cp>Ashley Capps, the founder and artistic director of Big Ears, would say much the same. He did, in fact, over breakfast on Friday morning. “It kind of unfolds with a logic of its own,” he said of the festival’s programming calculus. “But sometimes there’s something in the air. A clear association with the cultural moment.”\u003c/p>\n\u003cp>In the music industry, Capps is probably best known as a cofounder of the Bonnaroo Music and Arts Festival, which has sprawled out from a baseline of jam-band exuberance — this year’s headliners include Future, Paramore and Eminem. But Capps started out promoting shows in Knoxville during the late ’70s, and ran an eclectic club called Ella Guru’s in the ’80s. “For people who’ve grown up with me and know my taste,” he said, “they’re surprised it took so long for jazz to have such a prominent place at the festival.”\u003c/p>\n\u003cp>The tipping point, he said, was a 2016 Big Ears appearance by the brilliant, sometimes inscrutable composer and multireedist Anthony Braxton. “He played in the Bijou, and that was the first time we had done shows on a Friday afternoon,” Capps recalled, painting a picture just like the one I saw with Graves and Moran: full house, little to no turnover, 200 people shut out in line. “It was so encouraging to me as a programmer or a curator, to realize that we had managed to attract an audience with that level of interest and curiosity.”\u003c/p>\n\u003cp>Since then, Big Ears has featured saxophonist and flutist Henry Threadgill and trumpeter Wadada Leo Smith, who like Braxton are longtime members of the Association for the Advancement of Creative Musicians (AACM). Two of the most galvanic performances I saw were by a guiding elder of that organization, the multi-reedist and composer Roscoe Mitchell.\u003c/p>\n\u003cp>The first was a tumultuous show at The Standard, a converted warehouse where I also saw portions of sets by Rostam and Algiers. Mitchell was leading Trio Five, featuring the younger rhythm team of bassist Junius Paul and drummer Vincent Davis, who met his volcanic outpourings with power and poise. After a long stretch of circular breathing on soprano saxophone, expressive and atonal, Mitchell cued up “Odwalla,” a swinging theme he composed for the Art Ensemble of Chicago.\u003c/p>\n\u003cfigure id=\"attachment_13828188\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR.jpg\" alt=\"Roscoe Mitchell.\" width=\"400\" height=\"601\" class=\"size-full wp-image-13828188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR-375x563.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Roscoe Mitchell. \u003ccite>(Giles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The same anthem closed Mitchell’s concert at the Bijou on Saturday night, with a nine-piece confab similar to the one on his double album \u003cem>Bells For the South Side\u003c/em>, released last year. Sorey and Taborn were there alongside Mitchell associates like Hugh Ragin (trumpet), Tani Tabbal (drums) and James Fei (electronics and saxophones). As on the album — which was recorded in 2015, as part of a 50th anniversary celebration for the AACM — this performance began in a stark, accretive mode and gradually led to an incredible, wildly cacophonous squall.\u003c/p>\n\u003cp>Capps, who first presented the Art Ensemble of Chicago at the Bijou in 1980, told me that this performance felt a bit like coming full circle. And he agreed with my suggestion that after decades of marginalization, the AACM had finally begun to see its restless, collectivist methodologies metabolized into the improvised-music mainstream, at least up to a point.\u003c/p>\n\u003cp>“There’s a certain parallel with, say, minimalism — Steve Reich and Philip Glass, the stuff in the ’70s,” he said. “It was totally fringe; they had to form their own bands because nobody else could play it. I think the AACM is part of that tradition. It’s been 50 years of not only putting these ideas out there, but also building a community around the ideas.”\u003c/p>\n\u003cp>Big Ears represents another expression of that community, even if its convergent superabundance is as fleeting as a dream. For all the enlightened sprawl of its programming, which also included a heavy infusion of traditional Appalachian music this year, Capps said his curation was driven first and foremost by a sense of urgency. “Many of these musicians are now in their 70s and 80s,” he said. “Their contribution to art and culture has been profound, for me and for so many others. And I want to acknowledge them and honor that.”\u003c/p>\n\u003cp>Mitchell and Parker were two shining embodiments of this, avatars of uncompromising vision and intergenerational exchange. So too was Milford Graves, who performed a separate solo-percussion-and-vocal concert at the Bijou, to a rapt full house. At one point, after a casual demonstration of mystical Cuban rumba, he stopped to catch his breath. “It’s all in there,” he said of his flowing access to the music. “There’s no free jazz, no avant-garde, no bebop.”\u003c/p>\n\u003cp>He paused, magisterially, and then perked up. “Hey, check this out,” he said, suddenly sounding like a guy handing out flyers outside a hardcore show. “Tomorrow night, Jason Moran and myself. It should be interesting.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Beyond Jazz\u003c/strong>\u003c/h3>\n\u003cp>In the Big Ears spirit of roving interests and genre defiance, here are five great performances with little, or no, connection to jazz.\u003c/p>\n\u003cp>\u003cstrong>Arto Lindsay\u003c/strong>, The Mill & Mine\u003c/p>\n\u003cp>The always unclassifiable guitarist, composer and singer Arto Lindsay made this show a fever dream of growling funk, leading a band with Melvin Gibbs on bass, flanked by two excellent drummers. It was political, too — and not only when Lindsay dedicated a song to a black feminist activist who was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/15/594005158/brazilians-protest-after-black-human-rights-activist-is-murdered\">killed earlier this month \u003c/a>in Rio de Janeiro, Brazil.\u003c/p>\n\u003cp>\u003cstrong>Bang On A Can All-Stars: Julia Wolfe’s \u003c/strong>\u003cem>\u003cstrong>Anthracite Fields\u003c/strong>\u003c/em>, The Mill & Mine\u003c/p>\n\u003cp>Julia Wolfe’s new-music oratorio for choir and chamber sextet, which \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2015/09/26/442917172/a-dark-but-redeeming-tour-of-coal-country-with-composer-julia-wolfe\">won the 2015 Pulitzer Prize\u003c/a> for Music, is a haunting elegy inspired by the plight of Pennsylvania coal country near the turn of the century, and \u003cem>Anthracite Fields \u003c/em>was all the more haunting in the cavernous dark of The Mill & Mine, where much of the audience sat cross-legged on the floor.\u003c/p>\n\u003cp>\u003cstrong>Béla Fleck & Abigail Washburn\u003c/strong>, The Jig & Reel\u003c/p>\n\u003cp>Hours earlier, they were onstage at the Tennessee Theatre, an exquisite hall whose décor has often been likened to the inside of a Fabergé egg. This pop-up show was a lot smaller and scruffier. But where better to hear Washburn’s clarion voice and clawhammer banjo — deftly backed by Fleck, her husband — than in an old Scottish pub in Eastern Tennessee?\u003c/p>\n\u003cp>\u003cstrong>Laurel Halo with Eli Keszler\u003c/strong>, The Standard\u003c/p>\n\u003cp>During an afternoon interview with music critic Ben Ratliff, the experimental electronic artist Laurel Halo and the drummer Eli Keszler talked about their formative influences, free jazz among them. That evening they made an ambient music of shifting layers, hallucinatory at times but rooted in body movement. \u003c/p>\n\u003cp>\u003cstrong>Julie Byrne\u003c/strong>, The Standard\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Interiority is a generous condition in the music of Julie Byrne, who worked here with an understated command, singing in a warm, floaty hush and lightly fingerpicking her acoustic guitar. She had two supportive band members, on synthesizer and violin, but what mattered most were her songs, which could feel like spaces to crawl into and disappear. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 WBGO. To see more, visit \u003ca href=\"http://www.wbgo.org\">WBGO\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jazz%27s+Bleeding+Edge%3F+You+Can+Find+It%2C+Briefly%2C+In+Eastern+Tennesse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"The Big Ears Festival in Knoxville always books a wide range of artists, but this year something particular was afoot.","status":"publish","parent":0,"modified":1705028180,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":33,"wordCount":2124},"headData":{"title":"Jazz's Bleeding Edge? You Can Find It, Briefly, in Eastern Tennessee | KQED","description":"The Big Ears Festival in Knoxville always books a wide range of artists, but this year something particular was afoot.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Jazz's Bleeding Edge? You Can Find It, Briefly, in Eastern Tennessee","datePublished":"2018-03-28T17:13:31.000Z","dateModified":"2024-01-12T02:56:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Nate Chinen","nprImageAgency":"Eli Johnson","nprStoryId":"597355948","nprApiLink":"http://api.npr.org/query?id=597355948&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/sections/therecord/2018/03/27/597355948/jazzs-bleeding-edge-you-can-find-it-briefly-in-eastern-tennesse?ft=nprml&f=597355948","nprRetrievedStory":"1","nprPubDate":"Tue, 27 Mar 2018 15:49:00 -0400","nprStoryDate":"Tue, 27 Mar 2018 15:46:19 -0400","nprLastModifiedDate":"Tue, 27 Mar 2018 15:49:14 -0400","path":"/arts/13828181/jazzs-bleeding-edge-you-can-find-it-briefly-in-eastern-tennessee","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Milford Graves and Jason Moran were listening hard at the Big Ears Festival on Friday evening, and in this they were far from alone. Their spontaneous musical dialogue, onstage at the elegant Bijou Theater in Knoxville, Tenn., suggested a merging of the ancient and the ultramodern, aglow with an ephemeral sort of grace. At one point, Moran’s deep, mournful sonorities at the piano led Graves toward a murmuring hush at the drums, as if anything else would break the spell.\u003c/p>\n\u003cp>Musically speaking, this was a first-time encounter for Graves, who at 76 is a sagacious elder in the improvising avant-garde, and Moran, 43, whose career has branched out from a position closer to jazz’s center. Their concert was a gemlike centerpiece of Big Ears 2018; capacity at the Bijou is 700, but even with several competing options on the schedule, a lot of people were turned away.\u003c/p>\n\u003cp>Standing in line, I struck up a conversation with a white-bearded Tennesseean who has never missed an edition of the festival. When I asked whether he’d been looking forward to Graves and Moran, he said he didn’t know a thing about either one. His eyes lit up as he said it, like a kid about to open a birthday present. He wasn’t a rare-sound partisan, or a practicing connoisseur; he had just learned to count on musical discovery at Big Ears. “The more bizarre, the better,” he told me.\u003c/p>\n\u003cp>Big Ears will do that to a person. Contained within a walkable radius of historic downtown Knoxville — in a range of ornate landmark theaters, refurbished industrial spaces, art galleries, churches, and clubs — it creates its own atmospheric climate, along with a center of gravity. From its first iteration in 2009, the festival has been a locus of expedition, defined more by a go-anywhere ethos than by any style or genre allegiance. For a few years, the event honored vanguardist classical composers like Terry Riley and Steve Reich. It has skipped some years over the last decade. This was its seventh edition — and my first, despite the best of intentions and the deepest of affinities.\u003c/p>\n\u003cfigure id=\"attachment_13828182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-800x450.jpg\" alt=\"Jason Moran, left, and Milford Graves, right, performing on the second day of the Big Ears Festival in Knoxville, Tennessee.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13828182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jason Moran, left, and Milford Graves, right, performing on the second day of the Big Ears Festival in Knoxville, Tennessee. \u003ccite>(Eli Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What led me to Big Ears this year, in part, was an unusually high quotient of experimental jazz — or one or another form of unnamable music, like Graves and Moran’s spirit trance, that bore a vestigial relationship to jazz. Increasingly, improvising artists across the style spectrum are accessing multiple vocabularies, reconciling divergent strategies, bringing other disciplines into the frame. This coalescence was also a hallmark of\u003ca href=\"https://www.npr.org/2017/10/18/558549535/at-ojai-music-festival-vijay-iyer-showcases-improvisation\"> last summer’s Ojai Music Festival\u003c/a>, programmed by pianist and composer Vijay Iyer. Like that inspiring event, which featured a few of the same artists, this year’s Big Ears felt right in tune with an emergent, exhilarating frontier. I see this not only as a hopeful turn in the festival’s model of inclusion but also as an indicator of present-day permissions around jazz’s state of the art.\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>Moran is an obvious case in point. Along with the Graves duo, he played a show at the Mill & Mine, around midnight, with his Fats Waller Dance Party, creating a hallucinatory funk jam inspired by one of jazz’s foundational heroes. He also performed at the Bijou with BANGS, a trio that released\u003ca href=\"https://www.npr.org/2017/12/14/570561785/nate-chinens-top-10-actually-21-albums-of-2017\"> one of my favorite albums\u003c/a> last year and sounded even better here.\u003c/p>\n\u003cp>BANGS is all about Moran’s sensitive, shifting rapport with guitarist Mary Halvorson and cornetist Ron Miles, who each brought furious concentration to the task. Sometimes it sounded unmistakably like jazz, sometimes not. A seamless progression from the austere beauty of “White Space” (by Halvorson) to the pastoral reassurance of “Cupid” (by Miles) imparted the sensation of pure possibility, an open road under a billowing sky.\u003c/p>\n\u003cp>The festival abounded with other manifestations of this improv-activated, beyond-the-known-horizon sort of music, too many for a laundry list, let alone a concert agenda. But among other things: the formidable British saxophonist Evan Parker playing both a cathedral recital and in a pair of futuristic bands, his Electro-Acoustic Ensemble and the collective Rocket Science; a solitary explosion of sonic dimensions by trumpeter Peter Evans; two views on the violinist Jenny Scheinman, who first led Mischief & Mayhem, a raucous jazz-rock unit with Nels Cline on guitar and later presented ‘Kannopolis: A Moving Portrait,’ a found-footage-and-string-band experience steeped in Carolina twang; and the Tyshawn Sorey Trio, which developed like a high-pressure front, in an inexorable gyre. \u003c/p>\n\u003cfigure id=\"attachment_13828184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-800x450.jpg\" alt=\"Guitarist Nels Cline, left, with violinist Jenny Scheinman, left background, and bassist Todd Sickafoose of Mischief & Mayhem.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13828184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guitarist Nels Cline, left, with violinist Jenny Scheinman, left background, and bassist Todd Sickafoose of Mischief & Mayhem. \u003ccite>(Eli Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The pianist and reliable sound sorcerer Craig Taborn, whom I heard in four distinct contexts over the weekend, played the festival’s final slot with his superdynamic quartet. Introducing the band, which appears on his 2017 album \u003cem>Daylight Ghosts\u003c/em>, he gave a shout out to the Big Ears brain trust, “because it’s a festival that kind of represents how I listen to music.”\u003c/p>\n\u003cp>Ashley Capps, the founder and artistic director of Big Ears, would say much the same. He did, in fact, over breakfast on Friday morning. “It kind of unfolds with a logic of its own,” he said of the festival’s programming calculus. “But sometimes there’s something in the air. A clear association with the cultural moment.”\u003c/p>\n\u003cp>In the music industry, Capps is probably best known as a cofounder of the Bonnaroo Music and Arts Festival, which has sprawled out from a baseline of jam-band exuberance — this year’s headliners include Future, Paramore and Eminem. But Capps started out promoting shows in Knoxville during the late ’70s, and ran an eclectic club called Ella Guru’s in the ’80s. “For people who’ve grown up with me and know my taste,” he said, “they’re surprised it took so long for jazz to have such a prominent place at the festival.”\u003c/p>\n\u003cp>The tipping point, he said, was a 2016 Big Ears appearance by the brilliant, sometimes inscrutable composer and multireedist Anthony Braxton. “He played in the Bijou, and that was the first time we had done shows on a Friday afternoon,” Capps recalled, painting a picture just like the one I saw with Graves and Moran: full house, little to no turnover, 200 people shut out in line. “It was so encouraging to me as a programmer or a curator, to realize that we had managed to attract an audience with that level of interest and curiosity.”\u003c/p>\n\u003cp>Since then, Big Ears has featured saxophonist and flutist Henry Threadgill and trumpeter Wadada Leo Smith, who like Braxton are longtime members of the Association for the Advancement of Creative Musicians (AACM). Two of the most galvanic performances I saw were by a guiding elder of that organization, the multi-reedist and composer Roscoe Mitchell.\u003c/p>\n\u003cp>The first was a tumultuous show at The Standard, a converted warehouse where I also saw portions of sets by Rostam and Algiers. Mitchell was leading Trio Five, featuring the younger rhythm team of bassist Junius Paul and drummer Vincent Davis, who met his volcanic outpourings with power and poise. After a long stretch of circular breathing on soprano saxophone, expressive and atonal, Mitchell cued up “Odwalla,” a swinging theme he composed for the Art Ensemble of Chicago.\u003c/p>\n\u003cfigure id=\"attachment_13828188\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR.jpg\" alt=\"Roscoe Mitchell.\" width=\"400\" height=\"601\" class=\"size-full wp-image-13828188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR-375x563.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Roscoe Mitchell. \u003ccite>(Giles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The same anthem closed Mitchell’s concert at the Bijou on Saturday night, with a nine-piece confab similar to the one on his double album \u003cem>Bells For the South Side\u003c/em>, released last year. Sorey and Taborn were there alongside Mitchell associates like Hugh Ragin (trumpet), Tani Tabbal (drums) and James Fei (electronics and saxophones). As on the album — which was recorded in 2015, as part of a 50th anniversary celebration for the AACM — this performance began in a stark, accretive mode and gradually led to an incredible, wildly cacophonous squall.\u003c/p>\n\u003cp>Capps, who first presented the Art Ensemble of Chicago at the Bijou in 1980, told me that this performance felt a bit like coming full circle. And he agreed with my suggestion that after decades of marginalization, the AACM had finally begun to see its restless, collectivist methodologies metabolized into the improvised-music mainstream, at least up to a point.\u003c/p>\n\u003cp>“There’s a certain parallel with, say, minimalism — Steve Reich and Philip Glass, the stuff in the ’70s,” he said. “It was totally fringe; they had to form their own bands because nobody else could play it. I think the AACM is part of that tradition. It’s been 50 years of not only putting these ideas out there, but also building a community around the ideas.”\u003c/p>\n\u003cp>Big Ears represents another expression of that community, even if its convergent superabundance is as fleeting as a dream. For all the enlightened sprawl of its programming, which also included a heavy infusion of traditional Appalachian music this year, Capps said his curation was driven first and foremost by a sense of urgency. “Many of these musicians are now in their 70s and 80s,” he said. “Their contribution to art and culture has been profound, for me and for so many others. And I want to acknowledge them and honor that.”\u003c/p>\n\u003cp>Mitchell and Parker were two shining embodiments of this, avatars of uncompromising vision and intergenerational exchange. So too was Milford Graves, who performed a separate solo-percussion-and-vocal concert at the Bijou, to a rapt full house. At one point, after a casual demonstration of mystical Cuban rumba, he stopped to catch his breath. “It’s all in there,” he said of his flowing access to the music. “There’s no free jazz, no avant-garde, no bebop.”\u003c/p>\n\u003cp>He paused, magisterially, and then perked up. “Hey, check this out,” he said, suddenly sounding like a guy handing out flyers outside a hardcore show. “Tomorrow night, Jason Moran and myself. It should be interesting.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Beyond Jazz\u003c/strong>\u003c/h3>\n\u003cp>In the Big Ears spirit of roving interests and genre defiance, here are five great performances with little, or no, connection to jazz.\u003c/p>\n\u003cp>\u003cstrong>Arto Lindsay\u003c/strong>, The Mill & Mine\u003c/p>\n\u003cp>The always unclassifiable guitarist, composer and singer Arto Lindsay made this show a fever dream of growling funk, leading a band with Melvin Gibbs on bass, flanked by two excellent drummers. It was political, too — and not only when Lindsay dedicated a song to a black feminist activist who was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/15/594005158/brazilians-protest-after-black-human-rights-activist-is-murdered\">killed earlier this month \u003c/a>in Rio de Janeiro, Brazil.\u003c/p>\n\u003cp>\u003cstrong>Bang On A Can All-Stars: Julia Wolfe’s \u003c/strong>\u003cem>\u003cstrong>Anthracite Fields\u003c/strong>\u003c/em>, The Mill & Mine\u003c/p>\n\u003cp>Julia Wolfe’s new-music oratorio for choir and chamber sextet, which \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2015/09/26/442917172/a-dark-but-redeeming-tour-of-coal-country-with-composer-julia-wolfe\">won the 2015 Pulitzer Prize\u003c/a> for Music, is a haunting elegy inspired by the plight of Pennsylvania coal country near the turn of the century, and \u003cem>Anthracite Fields \u003c/em>was all the more haunting in the cavernous dark of The Mill & Mine, where much of the audience sat cross-legged on the floor.\u003c/p>\n\u003cp>\u003cstrong>Béla Fleck & Abigail Washburn\u003c/strong>, The Jig & Reel\u003c/p>\n\u003cp>Hours earlier, they were onstage at the Tennessee Theatre, an exquisite hall whose décor has often been likened to the inside of a Fabergé egg. This pop-up show was a lot smaller and scruffier. But where better to hear Washburn’s clarion voice and clawhammer banjo — deftly backed by Fleck, her husband — than in an old Scottish pub in Eastern Tennessee?\u003c/p>\n\u003cp>\u003cstrong>Laurel Halo with Eli Keszler\u003c/strong>, The Standard\u003c/p>\n\u003cp>During an afternoon interview with music critic Ben Ratliff, the experimental electronic artist Laurel Halo and the drummer Eli Keszler talked about their formative influences, free jazz among them. That evening they made an ambient music of shifting layers, hallucinatory at times but rooted in body movement. \u003c/p>\n\u003cp>\u003cstrong>Julie Byrne\u003c/strong>, The Standard\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>Interiority is a generous condition in the music of Julie Byrne, who worked here with an understated command, singing in a warm, floaty hush and lightly fingerpicking her acoustic guitar. She had two supportive band members, on synthesizer and violin, but what mattered most were her songs, which could feel like spaces to crawl into and disappear. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 WBGO. To see more, visit \u003ca href=\"http://www.wbgo.org\">WBGO\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jazz%27s+Bleeding+Edge%3F+You+Can+Find+It%2C+Briefly%2C+In+Eastern+Tennesse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13828181/jazzs-bleeding-edge-you-can-find-it-briefly-in-eastern-tennessee","authors":["byline_arts_13828181"],"categories":["arts_69"],"tags":["arts_1118","arts_2297"],"affiliates":["arts_137"],"featImg":"arts_13828183","label":"arts_137"},"arts_13807535":{"type":"posts","id":"arts_13807535","meta":{"index":"posts_1591205157","site":"arts","id":"13807535","score":null,"sort":[1504658924000]},"guestAuthors":[],"slug":"roscoe-mitchells-conversations-for-orchestra-gets-its-bay-area-debut","title":"Roscoe Mitchell's 'Conversations for Orchestra' Gets Its Bay Area Debut","publishDate":1504658924,"format":"standard","headTitle":"Roscoe Mitchell’s ‘Conversations for Orchestra’ Gets Its Bay Area Debut | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In June, it was discovered that \u003ca href=\"https://inside.mills.edu/academics/faculty/mus/index_grad.php\" target=\"_blank\" rel=\"noopener\">Mills College\u003c/a> intended to lay off at least 30 employees, including \u003ca href=\"https://ww2.kqed.org/arts/2017/06/07/jazz-pioneer-roscoe-mitchell-marked-for-dismissal-at-mills-college/\" target=\"_blank\" rel=\"noopener\">Roscoe Mitchell\u003c/a>, a renowned saxophonist and composer the \u003cem>\u003ca href=\"http://www.nytimes.com/1978/02/26/archives/the-innovative-jazz-arsenal-of-roscoe-mitchell-mitchell-mitchell.html?_r=0\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>\u003c/em> once described as “one of the most important musicians in jazz.” The news of Mitchell losing his job outraged the international music community, a petition against his dismissal circulated online, and Mills College ultimately decided to keep the esteemed professor on staff. \u003c/p>\n\u003cp>“I’m truly inspired by your impassioned, coordinated efforts to loudly proclaim your respect for the work being done by myself and my colleagues at Mills,” wrote Mitchell in a \u003ca href=\"https://docs.google.com/document/d/1pJ7OBA8e-P42QX5-RUTvTotWGru3E0H8Hpq0ic8wOUA/edit\" target=\"_blank\" rel=\"noopener\">open letter\u003c/a> to his supporters. “My hope is that your actions will pave a way for us all to move forward with increasing focus, during this ever-crucial period for music, art, and other creative endeavors.”\u003c/p>\n\u003cp>https://youtu.be/BOqjPBlfKvw\u003c/p>\n\u003cp>Now that Mitchell’s teaching position is secure, the composer is preparing for the Bay Area debut of his new work, \u003cem>Conversations for Orchestra\u003c/em>, at the de Young Museum on Friday, Sept. 8, at 7pm. For the free performance — set to take place in front of \u003cem>Number 197\u003c/em>, a site-specific installation by Leonardo Drew — Mitchell has assembled a 34-piece chamber orchestra comprised of Mills faculty and former students. The piece draws from Mitchell’s improvisations from his albums, \u003cem>Conversations\u003c/em> and \u003cem>Conversations II\u003c/em>. For \u003cem>Conversations for Orchestra\u003c/em>, he enlisted two former students, Christopher Luna-Mega and Daniel Steffey, to transcribe his atonal, whirlwind saxophone playing for a full-on orchestral performance. \u003c/p>\n\u003cp>“I was excited about this invitation because it provided me an opportunity to define more clearly my work on the relationships that exist between composition and improvisation,” wrote Mitchell in an email to KQED in June.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The performance is free of charge and open to the public.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignnone size-medium 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>For more information about “Roscoe Mitchell x Number 197,” visit the de Young Museum’s \u003ca href=\"https://deyoung.famsf.org/calendar/roscoe-mitchell-x-number-197\" target=\"_blank\" rel=\"noopener\">website\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The influential jazz musician plays a rare, free performance at the de Young Museum on Friday.","status":"publish","parent":0,"modified":1705029612,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":333},"headData":{"title":"Roscoe Mitchell's 'Conversations for Orchestra' Gets Its Bay Area Debut | KQED","description":"The influential jazz musician plays a rare, free performance at the de Young Museum on Friday.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Roscoe Mitchell's 'Conversations for Orchestra' Gets Its Bay Area Debut","datePublished":"2017-09-06T00:48:44.000Z","dateModified":"2024-01-12T03:20:12.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13807535/roscoe-mitchells-conversations-for-orchestra-gets-its-bay-area-debut","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In June, it was discovered that \u003ca href=\"https://inside.mills.edu/academics/faculty/mus/index_grad.php\" target=\"_blank\" rel=\"noopener\">Mills College\u003c/a> intended to lay off at least 30 employees, including \u003ca href=\"https://ww2.kqed.org/arts/2017/06/07/jazz-pioneer-roscoe-mitchell-marked-for-dismissal-at-mills-college/\" target=\"_blank\" rel=\"noopener\">Roscoe Mitchell\u003c/a>, a renowned saxophonist and composer the \u003cem>\u003ca href=\"http://www.nytimes.com/1978/02/26/archives/the-innovative-jazz-arsenal-of-roscoe-mitchell-mitchell-mitchell.html?_r=0\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>\u003c/em> once described as “one of the most important musicians in jazz.” The news of Mitchell losing his job outraged the international music community, a petition against his dismissal circulated online, and Mills College ultimately decided to keep the esteemed professor on staff. \u003c/p>\n\u003cp>“I’m truly inspired by your impassioned, coordinated efforts to loudly proclaim your respect for the work being done by myself and my colleagues at Mills,” wrote Mitchell in a \u003ca href=\"https://docs.google.com/document/d/1pJ7OBA8e-P42QX5-RUTvTotWGru3E0H8Hpq0ic8wOUA/edit\" target=\"_blank\" rel=\"noopener\">open letter\u003c/a> to his supporters. “My hope is that your actions will pave a way for us all to move forward with increasing focus, during this ever-crucial period for music, art, and other creative endeavors.”\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/BOqjPBlfKvw'\n title='//www.youtube.com/embed/BOqjPBlfKvw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now that Mitchell’s teaching position is secure, the composer is preparing for the Bay Area debut of his new work, \u003cem>Conversations for Orchestra\u003c/em>, at the de Young Museum on Friday, Sept. 8, at 7pm. For the free performance — set to take place in front of \u003cem>Number 197\u003c/em>, a site-specific installation by Leonardo Drew — Mitchell has assembled a 34-piece chamber orchestra comprised of Mills faculty and former students. The piece draws from Mitchell’s improvisations from his albums, \u003cem>Conversations\u003c/em> and \u003cem>Conversations II\u003c/em>. For \u003cem>Conversations for Orchestra\u003c/em>, he enlisted two former students, Christopher Luna-Mega and Daniel Steffey, to transcribe his atonal, whirlwind saxophone playing for a full-on orchestral performance. \u003c/p>\n\u003cp>“I was excited about this invitation because it provided me an opportunity to define more clearly my work on the relationships that exist between composition and improvisation,” wrote Mitchell in an email to KQED in June.\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 performance is free of charge and open to the public.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignnone size-medium 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>For more information about “Roscoe Mitchell x Number 197,” visit the de Young Museum’s \u003ca href=\"https://deyoung.famsf.org/calendar/roscoe-mitchell-x-number-197\" target=\"_blank\" rel=\"noopener\">website\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13807535/roscoe-mitchells-conversations-for-orchestra-gets-its-bay-area-debut","authors":["11387"],"categories":["arts_69"],"tags":["arts_1210","arts_1420","arts_2299","arts_596","arts_2297"],"featImg":"arts_13389912","label":"arts"}},"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? 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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. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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