Tag Archives: Jupiter
On her 40th birthday Audrey Martin decided to sing. As a marriage and family therapist, she had spent years helping other people work through traumas, resolve deep-seated conflicts, and discover their true selves. Along the way she had set aside her adolescent ambition for a life in music, a sublimated dream that resurfaced with her midlife milestone. Martin’s long and winding creative journey resulted in the captivating debut album Living Room (full disclosure: I wrote the liner notes). She celebrates the CD’s release Sunday afternoon at Berkeley’s California Jazz Conservatory, which played an essential role in her musical education.
“This is the culmination of 17 years of planning and effort at learning the art of jazz and bringing together music that I‘ve wanted to perform and record,” says Martin, a Berkeley resident since 1998. “It also represents an integration of my musical self and my life as a psychotherapist.” … Continue reading »
Berkeley fans of the Hammond B-3 organ don’t get many opportunities to experience the mighty instrument close to home. It’s a sad state of affairs for funk and soul jazz aficionados, especially considering that Wil Blades, the Bay Area’s most prodigious mid-career B-3 player, has long called Berkeley home. He returns to Jupiter on Friday with Oakland drum maestro Scott Amendola.
After a considerable hiatus their long-running duo Amendola Vs. Blades is swinging back into action with a series of gigs, playing two nights at Duende Oct. 23-24 on a round-robin triple bill with Hammond organist Joe Doria’s McTuff, and Jacob Fred Jazz Odyssey where all three bands will be rotating seamlessly every song, and Oct. 25 at the Red Poppy Art House in San Francisco. Pushing the limits of the duo format to the very edge, Blades and Amendola have honed an ambitious repertoire, including a full-scale interpretation of The Far East Suite, a late-career masterpiece by Duke Ellington and Billy Strayhorn. … Continue reading »
California is catching up with France: dogs will be allowed on restaurant patios and in other outdoor dining areas when a new law goes into effect January 1.
The change may be unnoticeable in Berkeley, where many restaurants have allowed dogs to join diners outdoors for years. The little-known prohibition was rarely enforced.
“We don’t get a lot of complaints, maybe three to five a year, so we would respond to those to enforce the state law if it was violated,” said Manuel Ramirez, director of Berkeley’s Environmental Health Division. … Continue reading »
What started as a one-off fundraiser for the people of northern Japan stricken by the devastating earthquake and tsunami of March 11, 2011 has turned into a musical mission of healing and remembrance. When drummer Akira Tana, bassist Ken Okada and flutist/saxophonist Masaru Koga first came together in the summer of 2011 at Fairfax’s Elsewhere Gallery, they brought in jazz arrangements of traditional Japanese songs, some dating back centuries. The music was so powerful that they ended up presenting it to stricken communities in Japan last year, and Sunday afternoon’s California Jazz Conservatory performance will raise funds for the trio’s return trip in July.
“We played in communities that aren’t there any more, at temporary shopping centers and housing units,” says the Palo Alto-raised Tana, whose father Daisho Tana led the Berkeley Buddhist Temple at 2121 Channing Way in the 1930s. “These songs hit home. You realize what a healing force for the spirit music can be, and it reminds me of why we got into doing this stuff.” … Continue reading »
Downtown Berkeley has seen a major revival in recent years, with a profusion of new restaurants and extensive development planned. Not everyone is happy with the changes, and the future of downtown continues to be a controversial topic.
On a lark, Berkeleyside asked readers to share some of their favorite downtown spots on Facebook. And, given the penchant in this town to offer criticism or complaints as a means toward progress, it was a bit of a shock to see the immediate outpouring of excitement about places locals love downtown.
Within a few hours, we had nearly 50 comments. Ideas — totaling about 80 recommendations — continued to come in for days. By no means is this intended to be scientific or exhaustive, but our question certainly hit a nerve.
We’ve included all the suggestions, along with some highlights provided by readers, in the map below. Click the markers to learn more. … Continue reading »
There’s nothing quite like having children to put your own upbringing in perspective. Looking back, saxophonist Joshi Marshall realizes that growing up in west Berkeley in the 1970s and 80s with two prominent musicians for parents provided a fabulously rich creative environment, albeit one with little of the structure that he provides for his two kids.
“There was no nighttime routine,” Marshall recalls. “There were real artists over playing music all the time and everything was about music and art. It was like, you sleep here and you sleep there, and you have to be part of our trip. It was such an unorthodox way of raising kids. But I wouldn’t trade it for anything, there was so much love.”
Best known as a founding member of Mingus Amungus, the pioneering jazz/hip hop combo directed by bassist and fellow Berkeley High alum Miles Perkins, Marshall has been a scarce presence on Bay Area stages in recent years as he’s thrown himself into teaching music. He makes two rare hometown appearances in the next few weeks, playing Friday at Jupiter with drummer Bryan Bowman and Lorenzo Farrell on Hammond B-3 organ, and Valentine’s Day at Chez Panisse.
The Jupiter combo is a new project that’s taken shape as bassist Lorenzo Farrell, a longtime member of the popular blues band Rick Estrin and the Night Cats, has increasingly concentrated on the organ. A Berkeley High grad who went on to earn a philosophy degree from Cal, Farrell brings his deep knowledge of the low end to the B-3, laying down supple bass lines with the instrument’s pedals. … 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 »
When the grooves get fierce, Hermann Lara feels right at home. Since moving back to the Bay Area in 1998 after earning a degree at Berklee College of Music, the San Francisco-born saxophonist has played in a vast array of dance-inducing settings, from Cuban timba ensembles and merengue bands to salsa combos and funk orchestras.
This month he’s settling into Jupiter for a Tuesday night residency, opening on Aug. 7 with a trio featuring keyboardist Mark Davis and Berkeley electric bassist Scott Thompson (who plays with many leading Brazilian musicians). Toward the end of the month he presents his trio Organomix with the young Hammond B3 player Brian Ho and drummer Lorca Hart.
“Both groups are working with the same kind of music, a lot of originals and original arrangements,” says Lara, 40. “I really avoid playing standards, but when I pull one out I’ll do more than change the key. I change the harmony and rhythm and play it with say, a reggaeton feel or a songo beat.” … Continue reading »
For talented and ambitious young musicians, the Bay Area offers an almost overwhelming array of resources. Layafette-raised trumpeter Billy Buss, who graduated from Berkeley High in 2006, took advantage of just about every program available, and he’s joined the long list of Bay Area musicians who have taken their rigorous training to New York City.
Now based in Brooklyn, Buss makes his debut at Jupiter on Wednesday July 18th with a quartet featuring Berkeley tenor saxophonist Howard Wiley, keyboardist Mike Aaberg (known for his work with Goapele, The Coup, and Lalah Hathaway), and the exceptional 19-year-old Richmond drummer Malachi Whitson, who’s in his second year at the University of the Pacific’s Brubeck Institute.
“As soon as I started playing jazz, I got myself involved in as many extracurricular programs as I could,” Buss says. “I was very lucky to have parents who were extremely supportive, who gave up a lot to be able to afford lessons and summer camps.” … Continue reading »
Sameer Gupta is on a mission to bring classical Indian music into places where it rarely ventures. A percussionist who plays tabla and trap drums, Gupta was a mainstay in Bay Area creative music circles until his 2008 move to Brooklyn, where he’s helped kindle a thriving Indian music scene with a weekly jazz-style jam session in a Prospect Park cowboy bar. He returns to California this weekend for a performance Sunday at the Subterranean Art House with Rohan Krishnamurthy , a master of mridangam, the drum that plays a central role in South Indian music.
“It’s a North Indian meets South Indian percussion concert,” Gupta says. “We want to present each drum on its own and show them together, trading the rhythmic languages back and forth. Both the tabla and the mridangam have amazing timbres and mathematics, so we’ll talk about that and where the instruments fit in the Hindustani and Carnatic traditions.”
It’s been at least two generations since jazz stars took on aristocratic titles, otherwise Dianne Reeves would surely be known as The Queen. The gorgeous singer with an even more glorious voice is one of jazz’s most regal figures, an artist who embodies the music’s enduring values of elegance, class and improvisational poise (which isn’t to say that she can’t get earthy when the music requires a little grit).
She’s a performer with a gift for transforming any space she inhabits into her living room, where she spins evocative tails for her listeners. Over the years I’ve seen her tear the roof off little theaters and mesmerize the Hollywood Bowl, where she put together events for several years as the Los Angeles Philharmonic’s first head of jazz programming.
“Small, large, it doesn’t make a difference,” says Reeves, 55, who plays Friday at Zellerbach Hall for Cal Performances with her longtime pianist and music direcotr Peter Martin, bassist Reginald Veal, drummer Terreon Gully, and Brazilian guitar master Romero Lubambo. “No matter where you are, it’s all the same place when it comes to communicating with an audience.” … Continue reading »
Living in Berkeley, it’s easy to take the Berkeley High jazz program for granted. Every few years, a new generation of ambitious students emerges from the jazz ensemble and heads off to music programs in New York, Boston and Los Angeles.
Since the mid 1970s, no high school in the United States has produced more world-class jazz talent than Berkeley High.
A short, and by no means complete, list of major artists who describe their BHJB experience as essential to … Continue reading »
Rob Ewing belongs to a long, honorable and frustrating lineage of Bay Area musicians whose consistently inspired creative output is matched by a seeming indifference to self-promotion.
A passionately expressive trombonist, skilled bassist, effective drummer and often brilliant arranger, Ewing has forged enduring ties with a fascinating community of musicians, artists steeped in jazz, but unconcerned about traditionalist notions of “the canon.”