Tag Archives: Berkeley Arts Festival
About six years ago, anguished by America’s ongoing foreign wars, Sarah Cahill decided to take matters into her own hands. Ever since John Adams wrote his early breakthrough piece “China Gates” for her in 1977 the Berkeley pianist has specialized in presenting new music by living composers, and she launched her own anti-war campaign by commissioning a series of new works.
Cahill’s gorgeous new album A Sweeter Music (Other Minds Records) features eight of the 18 composers involved in the project. She celebrates the album’s Sept. 24 release with an Other Minds event Sunday afternoon at the Berkeley Arts Festival space on University, performing excerpts at 3 p.m. and 4 p.m. (a copy of the CD is free with any donation over $15).
The album’s title references a line from Rev. Martin Luther King Jr.’s Nobel lecture, “We must see that peace represents a sweeter music, a cosmic melody, that is far superior to the discords of war.” She singled out composers who share a similar light-a-candle-rather-than-curse-the-darkness outlook. While one might expect the music to reflect the horror of war and the anger of activists protesting recent US military interventions, the mood is more elegiac than outraged. … Continue reading »
A reoccurring gig is rare enough to inspire a musician’s gratitude these days, but Berkeley bassist/composer Kurt Ribak feels particularly fortunate that he’s playing at Jupiter in downtown Berkeley every Tuesday in September.
Still on the mend after a cataclysmic car crash 14 months ago, he’s painstakingly toiled to regain full use of his left arm. The Jupiter residency offers an invaluable opportunity to put his reconstructed hand to work and to connect with some longtime collaborators before his ninth round of major surgery in October takes him off the scene again for some weeks.
“It’s been a real challenge,” says Ribak, who also performs Sept. 4 at the Berkeley Arts Festival performance space with the volatile Reckoning Quartet , and Sept 14 at the Albatross with drummer Bryan Bowman, keyboardist Greg Sankovich and his Times 4 bandmate Lincoln Adler on tenor saxophone. “I want to do as much playing as I can for my spirit and to remind my body of what it can do.”
For his month-long Jupiter “Tuesday Jazzidency” Ribak is joined each week by Sankovich and Adler (except for Sept. 17, when Tom Griesser takes over the saxophone chair). Various drummers round out the quartet, including Rob Hart this Tuesday, Matt Willis on Sept. 10, and Randy Odell on Sept. 17 and 24. … Continue reading »
Some three decades ago Steven Emerson got a taste of the rock ‘n’ roll lifestyle when he joined True West, a San Francisco band at the heart of the West Coast’s then-thriving Paisley Underground scene. On a circuitous creative path ever since, he’s honed his skills as a singer/songwriter in New York City, worked as a filmmaker, published as a poet, and, for much of the past decade, toiled as a composer in his North Berkeley home studio, writing music for commercials, films, television shows and video games.
But he’s still following his muse as a songwriter and performing occasionally in the East Bay, including a gig Friday at Jupiter with a band featuring Berkeley saxophonist Joshi Marshall (who also plays some keyboard and organ).
“I started writing in True West, and then I discovered Nick Drake and he kind of blew my mind,” Emerson says. “I’d never heard anything like him, and that solidified moving in that direction. I experimented with playing solo, or playing with a cellist for a couple of years. I also started playing with jazz musicians, upright bass and jazz drummers, inspired by Van Morrison and Rickie Lee Jones. There’s something about that sound that I was waking up to.” … Continue reading »
Despite releasing three acclaimed CDs over the past decade featuring some of jazz’s most accomplished improvisers, John Ettinger is one of the East Bay’s best kept musical secrets. The El Cerrito violinist gained a good deal of attention in 2006 with “Kissinger In Space,” an album as strange, wondrous and amusing as its title. He’s mostly been out of sight since the release of his last CD, 2008’s beauteous “Inquatica” with Pete Forbes on drums, piano, and banjo, a multi-tracked improvisational duo session marked by his judicious use of space and a haunting version of Hoagy Carmichael’s “Stardust.”
Ettinger presents a program of music drawn from his three albums for the first time Saturday at the Berkeley Art Festival space on University Avenue with a quintet featuring bassist Todd Sickafoose, drummer Lorca Hart, guitarist John Preuss and tenor saxophonist Tony Malaby. He never intended to keep his music on the down low, but with a day job at Ifshin Violins and a growing family, Ettinger put hustling gigs on the back burner. … Continue reading »
You can tell a lot about a musical scene by looking at the settings in which it thrives. Two very different events in the coming days embody the way that the demands and practices of a particular tradition can shape its presentation.
On Thursday, Freight & Salvage hosts Alasdair Fraser’s Freight Fiddle Summit, a communal celebration that marks the beginning of the 29th season of his Valley of the Moon Scottish Fiddling School in the Santa Cruz Mountains. And on Saturday, the Transbay Creative Music Calendar presents the 11th/12th Annual Bay Area Skronkathon Bar-B-Q at the Berkeley Arts Festival space on University Avenue, a sprawling all-day event that brings together a vast and varied menagerie of improvisers.
The Summit features the startlingly accomplished Menlo Park-raised sisters Brittany and Natalie Haas, the former a fiddler heard at the Freight last week with Darol Anger and the Furies, and the latter an innovative cellist who often performs in a celebrated duo with Fraser. Reaching beyond the Celtic world, the program also showcases New York accordionist Rob Curto, who tours with Mexican-American vocalist Lila Downs and leads Forró For All, and Claudio Rabeca, who plays his namesake instrument, the rabeca, a fiddle from the northeastern Brazilian state of Pernambuco, where he’s been an essential creative force for the past decade. … Continue reading »
Her latest recovery project at 2133 University Avenue opened last July as the headquarters of the confusingly titled Berkeley Arts Festival (also not to be confused with the Berkeley Festival & Exhibition).
Rather than a festival, BAF is a neatly kept but barebones storefront that presents a regular series of concerts by some of the world’s finest improvising musicians. The new season, booked mostly by Oakland saxophone master Phillip Greenlief, kicks off on Sunday with a double bill of two expansive trios. Featuring trombonist/vocalist Ron Heglin, cellist Doug Carroll, and Tom Nunn on electro-acoustic percussion implements of his own invention, the playful and texturally inventive R2D3 opens the concert, followed by trumpeter Tom Djil, electronics explorer Tim Perkis and Heglin on trombone.
In these belt-tightening times, it’s edifying to recall just how little gold it takes to create a golden age. On Friday and Saturday the Old Friends Festival brings together more than two-dozen musicians active on the Bay Area creative music scene in the 1990s. While high tech was booming, the scene thrived on a shoestring, with a handful of venues serving as sonic petrie dishes for some truly inspired musical experiments.
Presented by the Berkeley Arts Festival, an ongoing concert series produced by Bonnie Hughes at a downtown Berkeley storefront at 2133 University Avenue, OFF is curated by bassist/composer Steve Horowitz, who recently returned to the Bay Area after years in the Netherlands and New York City. Recalling the roiling creative energy of the Bay Area scene at the time of his departure, Horowitz decided to round up as many of his former comrads as possible.
Friday’s show features three sets. The Ralph Carney/Randy Odell Duo brings together the irrepressibly brilliant multi-instrumentalist Carney, a regular contributor to Tom Waits projects, and drummer Odell, whose resume includes the bands The Impalers, The GG Amos Band, and the recently convened Ralph Carney Serious Jass Project. … Continue reading »
Few bands in jazz find musical pay dirt as consistently as Phillip Greenlief’s Lost Trio.
Launched about 17 years ago with bassist Dan Seamans and drummer Tom Hassett, the group brings the same gruff, unfussy eloquence to tunes by Hank Williams and Herbie Nichols, Billy Strayhorn and Nino Rota, Irving Berlin and Joni Mitchell, Beck and Bjork.
While focusing more on original material these days, Greenlief launched the stripped-down ensemble as a vehicle to investigate material outside the standard jazz repertoire, whether the source was Tin Pan Alley, Nashville, or Iceland. It’s a loose-limbed combo marked by an off-the-cuff poetic sensibility, full of earthy humor and soaring lyricism.
“The challenge is how can we arrange these tunes in a way that’s interesting,” Greenlief says. “That’s what we’ve really been trying to work on the last couple of years, to get past convention of head, sax solo, bass solo, out. It seems like because of our repertoire we’ve somehow developed a sound that’s unique, if that’s possible in this music.”
Performing Friday night as part of the Berkeley Arts Festival, the Lost Trio celebrates the release of the group’s fifth album, “Mysterious Toboggan,” on Greenlief’s invaluable label Evander Music. A stellar cast of improvisers will be joining the trio throughout the evening, including Santa Cruz-raised, Brooklyn-based vocalist Sasha Dobson, Nice Guy Trio trumpeter Darren Johnston, Berkeley guitar explorer John Schott, invaluable reed expert Cory Wright, and electronics wizard Tim Perkis. … Continue reading »