Tag Archives: Freight & Salvage
There’s a secret green side to Berkeley, one that is not visible from the sidewalk.
They are Berkeley’s roof gardens — oases of calm amidst a city of concrete. Some were created to provide food, others to make buildings more energy-friendly. Whatever the reason, they remain mostly unseen.
Over the past few weeks, Berkeleyside has located several living roofs around Berkeley. Of course, journalists can’t fly, so we likely did not find every rooftop garden. By contacting architects, squinting at Google Maps, and combing through past exposés on green living, we found four living roofs scattered around the city. If you know of any roofs that we missed, please let us know in the comments. … Continue reading »
Klezmer violinist Daniel Hoffman moved to Israel with ambitious plans to reintroduce the Jewish state to its Eastern European roots, but instead he’s the one who’s been transformed with an infusion of Greek and Turkish soul.
Based in Berkeley before he moved to Tel Aviv in 2005 with his wife, actress Korine Koret, Hoffman was a creative force on the Bay Area Jewish music scene for many years, leading the innovative quartet Davka, which reunites for a performance tonight at 8pm at the Freight & Salvage, and Klez-X (formerly the San Francisco Klezmer Experience), which performs Saturday at St. Cyprian’s Church in San Francisco as part of the Noe Valley Music series.
In struggling to make a living in Israel, a country with a surfeit of accomplished violinists, Hoffman has found himself engaged for a steady flow of Turkish music and Greek rembétika, a raucous style anchored by the percussive strains of the bouzouki. He’s still committed to klezmer, but playing the music in Israel means he’s swimming determinately against the cultural current. … Continue reading »
In a technologically driven society hurtling toward omnipresent connectivity, embracing a traditional art form can be downright countercultural. For the extraordinary siblings Tristan and Tashina Clarridge, who have won six Grand National Fiddle Championships between them, creating a communal gathering where some of the world’s finest bluegrass, Celtic, jazz and old-time players share hard-won musical wisdom is an extension of an itinerant upbringing that included roughing it in a teepee.
“We were privileged to grow up in an unusual way, which prepared us for the way this event unfolds,” says Tristan, 27, who along with Tashina, 32, presents the rousing conclusion to their Mt. Shasta Music Summit on Saturday at Freight & Salvage. The Shasta String Celebration showcases the dazzling array of talent attracted to the fiddle camp to teach and study, including Indian violin master Kala Ramnath, Grammy-winning Berkeley fiddler and singer/songwriter Laurie Lewis, Appalachian fiddle star Brittany Haas, Nickel Creek bassist Mark Schatz, Scottish fiddle champion Jeremy Kittel, the Clarridges’ innovative chambergrass ensemble The Bee Eaters, and many others. … Continue reading »
A great film score doesn’t just highlight the action on screen. It can set the scene, amplify the mood, juice the rhythmic flow, and add psychological depth to characters. At its best, movie music can stand apart from the images for which it was conceived, and for almost two decades Orchestra Nostalgico has dedicated itself to celebrating the work of masters such as Nino Rota, Ennio Morricone, and Bernard Herrmann.
After a long hiatus, Nostalgico is getting ready to record again, and in preparation for the studio the nine-piece ensemble performs Sunday at the Berkeley Art Festival performance space on University. Featuring some of the finest musicians in the region, including woodwind experts Phillip Greenlief and Sheldon Brown, trumpeter Chris Grady, and violinist Catharine Clune, the band is delving into Herrman’s scores for Vertigo and Psycho, Ennio Morricone’s Once Upon A Time In the West, and a suite of John Berry themes for James Bond films. … Continue reading »
As a musician, Berkeley’s Hilary Perkins may be a late bloomer, but she’s on the cusp of earning a well-deserved spot on the national stage. A singer-songwriter steeped in bluegrass, country and old-time songs, she performs and records as Nell Robinson, a moniker adopted in honor of her Alabama-raised grandmother. In just a few years, she’s released three critically hailed albums and patiently honed an arresting musical production exploring the stateside costs of American military engagements.
Perkins returns to Freight & Salvage on Saturday with the latest incarnation of the show, formerly known as Soldier Stories and now rechristened as The Rose Of No Man’s Land, with a glittering cast of collaborators including Ramblin’ Jack Elliott, John Doe, Maxine Hong Kingston, and guitarist Jim Nunally (Perkins’ steady musical partner). Perkins is donating proceeds from the concert to support hiring a full-time chaplain for the Berkeley Food and Housing Project. … Continue reading »
FINAL COUNTDOWN Classical music concerts often have some programmatic idea: works that influenced each other, or pieces that provide an interesting tonal contrast. But The Opus Project has a particularly audacious notion: its Saturday night concert features 21 Opus 5 pieces by composers ranging from Stravinsky to Cage to Britten (it’s the centennial of Stravinsky’s Rite of Spring — an Opus 5!). The multi-media Opus 5 follows on, unsurprisingly, from Opera 1 through 4 (pedantic, moi?). The earliest work on Saturday will be a movement from Schoenberg’s Peleas und Melisande; the most recent Rabbits Frolicking Through the Meadow by 20-year old Anthony Ragus, composed this year. Opus 5 is at 8 p.m. on Saturday, May 25, at Berkeley Arts Festival, 2133 University Avenue. Tickets are from $10. … Continue reading »
Oakland percussion master John Santos has spent the past three decades introducing Bay Area audiences to Caribbean musical treasures, but he’s got something unprecedented in store for Berkeley this weekend.
Havana’s Ernesto Oviedo, the 77-year-old maestro of boleros, makes his U.S. debut under his own name at an intimate sit-down concert Sunday at La Casa de Cultura Brazilian, 1901 San Pablo Ave., accompanied by a top-shelf Bay Area ensemble featuring Santos, Marco Diaz on piano and trumpet, bassist Saul Sierra, guitarist Jose Roberto, saxophonist/flutist Melecio Magdaluyo, and percussionist Javier Navarrette.
Santos featured Oviedo last month at a sold-out SFJAZZ Center performance by his Filosofía Caribeña project, an unexpected addition to a program already brimming with brilliant artists. Although unknown to the vast majority of the audience, he earned a rapturous standing ovation with his soul-bearing renditions of the Latin American standards “Alma Mia” and “Convergencia” (performed as a duo with Diaz). … Continue reading »
Molly Holm has lived a lifetime in between starting to record her debut CD Permission and its release last February. The Berkeley jazz singer, an esteemed educator and important collaborator with Bobby McFerrin and Terry Riley, lost both her parents, ended a relationship, and married her husband in the decade or so it took to bring the project to fruition.
Concerts marking the release of a CD are often billed as celebrations, but in Holm’s case Sunday’s performance at Freight & Salvage is almost a liberation. She’s performing with a superlative cast distilled from her collaborators on the album, including pianist/producer Frank Martin, bass master Jeff Chambers, drummer Deszon Claiborne, Antonio Minnecola on Hindustani vocal percussion, trombonist Wayne Wallace, and reed expert Melecio Magdaluyo. … Continue reading »
The Blondies are five teenage boys from Berkeley and Oakland, ages 14 to 17. They are the youngest band to be named Gibson artists and recognized by BAM magazine for their incredible performance energy and original songs. Their harmonies and instrumental prowess are way beyond their years. The band consists of Simon Lunche (lead vocals and guitar), Frank Klopotowski (bass and vocals), Zak Meghrouni-Brown (lead guitar and vocals), Paul Davis (drums and vocals), and Jerry Feist (keyboards and vocals). They attend Berkeley High, Oakland Tech, and Head Royce.
They did a recent Q&A for Berkeleyside:
How did you meet and start your band?
We met through Bandworks, a band camp in Oakland, about six years ago. At that time we had a different bassist. After playing together for about six months, we took a short break and when we got back together our bassist decided not to continue. That’s when we brought Frank in, who Simon also knew from Bandworks. Some of us were already taking guitar lessons from Chris Solberg, formerly of Santana, so we decided to have Chris coach us. … Continue reading »
Guitarist Eric Thompson has been the heart and soul of Berkeley’s old-time and American roots music scene since the mid-1960s, but he got his start down the peninsula in Palo Alto as the youngest member of the Black Mountain Boys, a bluegrass trio featuring Jerry Garcia on five-string banjo and David Nelson on mandolin. A short-lived combo that never recorded — though there’s a bootleg or two floating around — the Black Mountain Boys are regrouping for a performance Friday as part of Ashkenaz’s 40th anniversary celebration (which kicks off tonight with a talent-laden band led by Garcia’s future Grateful Dead bandmate Mickey Hart).
With Garcia unavailable due to his ongoing big gig in the sky, the banjo chair is being filled by Rick Shubb, a distinguished old-time musician who’s probably better known these days as the inventor of the Shubb Capo, beloved by guitarists far and wide. Nelson, renowned as a founder of the New Riders of the Purple Sage, plays guitar, trading roles with Thompson, who’s handling mandolin duties. Filling out the band are fiddlers Paul Shelasky and Suzy Thompson (Eric’s wife and partner in musical mayhem in the Aux Cajunals, Bluegrass Intentions, Todalo Shakers, and other rootsy bands), and bassist Paul Knight, who tours with Peter Rowan and Kathy Kallick. Wake the Dead shares the bill. … Continue reading »
By Tara Taylor
A year ago, Berkeley author Annie Barrows received an email from an old friend that resulted in bringing the characters from her best-selling children’s book series, Ivy + Bean, to life. The email, from Nina Meehan, executive director of Bay Area Children’s Theatre, was a simple question: what do you think about making Ivy + Bean into a musical for kids?
Barrows, along with her publisher Chronicle Books, loved the idea and gave BACT the blessing to transform Ivy + … Continue reading »
Four decades is a long wait between albums, but Chester “CT” Thompson hasn’t been wasting his time. A rising Hammond B3 organ star on the chitlin’ circuit jazz scene in the late 1960s, he recorded his first album as a leader in 1971 for the Black Jazz label, Powerhouse, an LP that’s now a pricey collector’s item (listing for $175 on eBay).
When Thompson gained national notoriety with Tower of Power during its 1970s heyday he gave up his solo career, and went on to a quarter-century run with Santana from 1983-2009, including key contributions to the smash album Supernatural. Since coming off the road, he’s started to delve back into his original soul jazz bag, and he celebrates the release of his second album Mixology (Doodlin’ Records) Friday at Freight & Salvage.
“It’s a little different for me, but I’m having a ball,” Thompson said from his house in Millbrae. “Normally I’m in other bands as one of the supporting cats. I’m working with great players, and that says it all for me. We’ll be featuring cuts off the new CD, and maybe a couple of surprises.” … Continue reading »
Violinist/vocalist Dina Maccabee came to Joni Mitchell relatively late, but once she discovered “Blue” the nakedly confessional 1971 album lodged deep in her musical consciousness. She had the rare opportunity to reimagine the album last year as guest curator for UnderCover Presents at Brava Theatre, an event reprised Monday and Tuesday at Freight & Salvage with the same dazzling cast of some 50 artists.
“Joni’s lyrics stand as poetry on the page; the melodies are inspired and the lyrics are inspired, but her singing is so central to her music it can be hard to separate the core melody from her vocal ornamentation,” says Maccabee, an invaluable presence on the Bay Area music scene who plays and sings in the duo Ramon & Jessica and the Real Vocal String Quartet, among other ensembles. “I was interested in whether you can you take a Joni Mitchell song and not sing it the way she does and still have it stand up.” … Continue reading »