Author Archives: Andrew Gilbert
Maybe a Manhattan methadone clinic wasn’t an auspicious setting for encountering a musical hero, but Macy Blackman wasn’t going let an opportunity to hang out with New Orleans drummer Charles “Hungry” Williams go to waste. Looking to get clean in the bitter winter of 1978, Blackman was sitting on a couch in the lounge of the Bernstein Institute strumming a guitar when someone informed him that Fats Domino’s drummer was in the next room.
“After a while he came in and started singing Chuck Willis’ ‘You’re Still My Baby’ with me,” says Blackman, a Kensington resident for the past 13 years. He celebrates the release of his new album Friskin’ the Whiskers with his band The Mighty Fines at Ashkenaz 9 p.m. Thursday, April 2.
A pianist, cornetist, and vocalist with a gruff, rhythmically assured delivery, Blackman is one of Northern California’s leading exponents of classic New Orleans R&B, and he absorbed a good deal of the music directly from the source. He and Williams struck up a fast friendship after that first encounter, and ended up playing music together up until the drummer’s death in 1986. Blackman, who still supplements his income as a piano technician, even taught Williams his trade. … Continue reading »
In a town known for spawning visionary organizations that insistently hew to a singular path, the Center for New Music and Audio Technologies may be the most Berkeley institution of them all. And that’s because it reflects the polymathic curiosity and probing intelligence of the late founder and director David Wessel, who died suddenly last October at the age of 72. Known by its initialism CNMAT (pronounced senn-mat), it’s a multi-disciplinary research center tucked within Cal’s Department of Music where musicians, composers and leading researchers in physics, mathematics, electrical engineering, psychology, computer science, cognitive science explore the creative interaction between music and technology.
On 4-7 p.m. Sunday, several hundred of Wessel’s friends, family and colleagues from around the world will gather at the Berkeley City Club for a series of improvisation-driven performances, a fitting celebration of his legacy. Among the artists involved are violist Nils Bultmann, Berkeley guitarist John Schott and Matthew Wright on electronics, and vocalist Thomas Buckner, saxophonist Roscoe Mitchell, Earl Howard on synthesizer, and percussionists George Marsh and Jennifer Wilsey.
“We’ll have several of his closest collaborators on stage performing,” said composer and CNMAT Director Edmund Campion, who Wessel brought to CNMAT in 1996 (he became co-director in 2008). “It could go on for days with all the musicians who will be there, so we had to put some limits on it.”
While the celebration is far more geared toward musical tributes than spoken reminiscing, Campion says that there will be no shortage of text, including abstracts from the hundreds of research projects to which Wessel contributed, “an incredible legacy of published papers, at a rate and amount that’s pretty mind boggling.” … Continue reading »
Stephanie Crawford has performed at top jazz clubs in New York City and Paris, but since settling in the East Bay about 15 years ago she’s been one of the region’s best kept jazz secrets. In recent months lucky Cheese Board patrons have been privy to her vocal artistry (she’s there Thursday afternoon with pianist Joe Warner), but Crawford’s mainstay is the California Jazz Conservatory, where she returns 4:30 pm Sunday for a performance with Warner, ace bassist Ron Belcher, and versatile drummer Greg German.
It’s telling that the North Oakland resident has found a welcome embrace in venues run by vocalists. She was a regular at Anna de Leon’s lamented downtown spot Anna’s Jazz Island. And Laurie Antonioli, the supremely creative singer who runs the CJC’s jazz vocal program, has long championed Crawford, hiring her for gigs as a performer and teacher, where she contributes significant depth to the program. … Continue reading »
Sisterhood isn’t just powerful it sounds hella good. Venues around Berkeley hardly need International Women’s Day (March 8) for inspiration to feature great female musicians, but from Freight & Salvage to R. Kassman Fine Pianos and Berkeley High there are numerous women-centric concerts and events taking place in the coming days.
On 8 p.m. Sunday, the 30th Jewish Music Festival presents the great Bay Area choir Kitka at the Freight, an event that also includes the JMF’s Shofar Award ceremony honoring folk music legend Ronnie Gilbert.
The eight-women Oakland ensemble has developed a vast, breathtaking repertoire of traditional songs from the Balkans, Caucasus, and Slavic lands and new material composed for the group drawing on those Eastern European vocal traditions. For the JMF, Kitka is presenting an array of material, including pieces from last year’s album I Will Remember Everything. The album features composer Eric Banks’ settings of the long censored verse of Sophia Parnok (1885-1933), known as “Russia’s Sappho” for her emotionally charged poems to her lover, the great Russian poet Marina Tsvetaeva. … Continue reading »
As a singer/songwriter with a folky bent, Alexis Harte spent about a decade leading his own bands and taking care of all the details that entails. These days, the Berkeley-reared guitarist and vocalist has found an ideal partner in Oakland’s Damond Moodie, a soul-steeped singer/songwriter who’s also co-director of Pumpkin Seed Childcare.
They’ve effectively combined their complimentary sonic sensibilities in The Lemonhammer. The quartet celebrates the release of a new EP Made In A House 1 p.m. Sunday at Freight & Salvage on a double bill with Judea Eden Band as the opening act. The ticket price includes a copy of the EP. … Continue reading »
Drawn to documenting the burgeoning protest movement in the late 1960s, Ken Light came to photojournalism as an extension of his anti-war activism. He started by shooting marches and demonstrations, but it wasn’t until the Nixon administration’s secret bombing of Cambodia came to light in late April 1970, and campuses exploded, that he truly found his calling. Hitchhiking from Ohio State in Athens to the flagship Ohio State campus in Columbus, he captured clashes between students and the National Guard shortly before four students were killed at Kent State in similar demonstrations. Arrested despite his press credentials, Light retrieved his undeveloped film when he got out of jail, and “those photos were published in newspapers and magazines all over the world,” he says. “I was struck, you can really have a voice. I could look around at my generation and tell stories about what’s happening.”
On faculty at UC Berkeley since 1983, Light is a longtime professor at the Graduate School of Journalism and curator of the J-School’s Center for Photography (where there’s now a fantastic exhibition of work by the legendary chronicler of rock, jazz and blues musicians Jim Marshall). Over the years, he’s earned numerous awards and published books examining the lives of farm workers–With These Hands (Pilgrim Press) and To The Promised Land (Aperture); impoverished African-Americans in the deep South — Delta Time (Smithsonian Institution Press); and Appalachia — Coal Hollow (University of California Press). … Continue reading »
From his earliest stirrings as a musician, Cornelius Boots has always gravitated to low, rumbling tones. Since moving to the Bay Area about 12 years ago, he’s created a series of darkly dramatic ensembles, such as Edmund Wells, an unprecedented bass clarinet quartet, and the texture-minded duo Sabbaticus Rex.
In recent years, Boots has focused on mastering an array of bass shakuhachis, and he celebrates the release of his quietly enthralling album Mountain Hermit’s Secret Wisdom with a solo recital 8 p.m. Saturday as part of the Trinity Concert Concerts series, at the Trinity Chapel, 2320 Dana St. The “Heart and Blood” concert is a double bill with a Boots’ frequent collaborator, Mark Deutsch, who performs on his patented Bazantar, an upright five-string contrabass with dozens of sympathetic strings. He invented the instrument to accommodate his passion for new music, free improvisation and North Indian classical music. … Continue reading »
Piano lovers take note: there are some great players hitting Berkeley this weekend.
Tammy Hall can usually be found accompanying some of the best jazz singers in the region and tenor sax greats like Houston Person, who described her as “one mighty soulful lady.” But she makes a rare solo outing 5 p.m. Sunday at R. Kassman Fine Pianos in Berkeley as part of Barbara Higbie’s monthly solo recital series Sunday at the 88s, a repeatedly rewarding showcase for exceptional pianists.
Possessing an uncluttered, telegraphic style marked by her conservatory training and deep roots in gospel, Hall gracefully combines elegance and grit. Her enticing blend of soul and precision has made her an invaluable collaborator for vocalists such as Etta Jones, Kim Nalley, Denise Perrier, Rhonda Benin, Linda Tillery, Frankye Kelly, and Veronica Klaus, who have all availed themselves of Hall’s keyboard services. … Continue reading »
Theresa Wong calls Berkeley home, but she forged her artistic identity via a long and winding journey abroad, soaking up creative currents in Salzburg, Vienna, Venice and beyond. A cellist, vocalist, composer, and graphic artist who can often be found enmeshed in gripping multi-media productions, Wong joins forces with guitarist/vocalist Fred Frith at the Berkeley Art Festival space 8 p.m. Saturday for a set of duo improvisation (a double bill with the electronics, piano and percussion trio Dapplegrey benefiting Doctors Without Borders).
In many ways, Frith has played a central role in Wong’s unlikely transformation from Stanford University-trained product designer to performance artist responsible for riveting works like The Unlearning, a multi-media collaboration with violinist/vocalist Carla Kihlstedt inspired by Goya’s disquieting Disasters of War etchings (the album was released on John Zorn’s Tzadik label).
A long-time member of the music faculty at Mills College, Frith first gained renown as a pioneering experimentalist when he co-founded the avant-garde British rock band Henry Cow in 1968. He’s dauntingly prolific artist who works on multiple fronts as a composer, educator, and globe-trotting musical explorer, and his path first crossed with Wong’s when she attended the Venice Biennale in 2003.
“It was the first time I heard Pamela Z, Julia Wolfe, and Fred Frith,” Wong recalls. “I still have my book of notes, trying to make sense of what makes this or that performance work. Everyone was so friendly. I’d go to talks and lectures. I heard Fred playing solo, and saw that he teaches at Mills, near where my parents live.” … Continue reading »
Paul Hanson has spent much of his life taking the bassoon into realms where the horn has never before traveled. From world jazz and klezmer to funk and rock, the Berkeley native refuses to be bounded by the irascible double-reed’s traditional symphonic role. Based in American Canyon since the end of a four-year stint with Cirque du Soleil in Japan, he returns to town for a California Jazz Conservatory performance at 8 p.m. Friday with the duo Oon featuring the inventive electric bassist Ariane Cap.
Pronounced like the last syllable of Hanson’s instrument (“just subtract the bass from bassoon,” he says), the duo released a debut album Polaris in 2013, and they’ve continued to refine and expand a surprisingly varied array of material. While the album focuses on original material by both musicians (Cap often composes with Austrian multi-instrumentalist Wolf Wein, the album’s co-producer), they’ve also devised striking arrangements of familiar songs, such as “Stella By Starlight” and “Dear Prudence.” … Continue reading »
Some three years after the death of the beloved San Francisco drum maestro Eddie Marshall the loss still stings. Whether serving as a sideman or leading his own inventive combo, Marshall made the trap set purr and roar, generating tremendous swing with a minimum of fuss. His presence in the Bay Area felt particularly felicitous as he moved west after establishing himself as a top-shelf New York player, known for his work with Toshiko Akiyoshi, Stan Getz, and Sam Rivers. As the house drummer at Keystone Korner in North Beach, he provided impeccable rhythmic support to steady rotation of masters, while generously mentoring several generations of young Bay Area musicians.
“Eddie was one of the great drummers in the world,” says New York saxophonist/trumpeter Peck Allmond, who graduated from Berkeley High in 1980 and leads a tribute to Marshall at the California Jazz Conservatory on Friday at 8 p.m. “Eddie chose to live in the Bay Area after a long time in New York so he could have a family, go camping, ride his bicycle. In addition to his drumming, he was a great composer. We just had a rehearsal, and every time we play his tunes we find new stuff. They make so much sense and sound so great.” … Continue reading »
For the past decade, vegan chef and shakuhachi master Philip Gelb has combined his passion for music and food with a movable monthly series that pairs a four-course meal with a recital featuring singular musicians such as alto sax great Oliver Lake and Irish harp expert Diana Rowan. Looking to expand into new territory, he’s joining forces with Tomate Café’s Jack Wakileh, introducing a new pop-up series in West Berkeley (sans music for the time being).
Gelb kicks off the first of three scheduled events on Saturday Jan. 10 with a celebration of the culinary traditions of Southern African-Americans and the Caribbean inspired by Oakland cookbook writer/culinary historian Bryant Terry. Terry, who will be on hand speaking between courses, recently published Afro-Vegan: Farm-Fresh African, Caribbean, and Southern Flavors Remixed.
“Bryant’s a guy I have great respect for,” said Gelb, who is one of the first musicians to perform new music on shakuhachi, the ancient, end-blown Japanese bamboo flute. “I first came across him on KPFA years ago being interviewed about food politics in the African-American community. We’ve met up over the years, traded food and ideas and talked about collaborating.” … Continue reading »
The southern Mexican state of Oaxaca is a realm where indigenous culture continues to thrive in the 21st century. Rather than closing themselves off to outside currents, the Mixtecs, Zapotecs and other peoples of the region are constantly integrating new information, evolution that’s evident in Pasatono Orquesta, a fascinating nine-piece ensemble that makes its Bay Area debut at Freight & Salvage on Wednesday on a double bill with Cascada de Flores.
Championed by artists like vocalist Lila Downs, the intermittently Oaxaca-raised daughter of Mixtec cabaret singer Anita Sanchez, the band has compiled a vivid repertoire of tunes played by the Mixeteca orchestras that traveled the region in the middle decades of the 20th century. Sounds infiltrated from the north and south, and often hung around in Oaxaca long after they went out of fashion elsewhere, like the jaunty Charleston which figures in some Pasatono pieces. But Pasatono’s latest album, Maroma, is something of a departure. Drawing on the music that accompanies Oaxacan circuses, it’s an intoxicating mix of influences such as jazz, polka, chilena and cumbia. … Continue reading »