San Mateo-based jazz station plans benefit concert 
By Sean Maher 
San Mateo County Times 
 
KCSM-FM, the only remaining all-jazz radio station in the Bay Area, is banking on a one-time-only benefit concert to keep the station from going silent. 
 
On June 30, Yoshi's in Oakland will host a trio of solo pianists spanning three generations of Bay Area jazz piano playing to support the financially struggling station. 
 
"We're one of the very few, one of the last remaining all-jazz stations in the country, in the world," said program director Melanie Berzon, who lamented the recent format change from soft jazz to classic rock at KKSF-FM. "They're dropping like flies. We're losing jazz stations and jazz formats hand over fist.'' 
 
KCSM (91.1 FM), licensed to the San Mateo County Community College District, has received the bulk of its funding from listeners for years, Berzon said. But a 12 percent chunk of its operating budget expected from the school district fell through this year when the district, which is funded by the state, experienced deep cuts, she said. 
 
The station's recent pledge drive drew more donations and more cash than ever, but the station is still trying to bridge a $40,000 gap by June 30, when its fiscal year ends and the school has to decide whether to keep the station running, Berzon said. 
 
Three local pianists hope to help. Denny Zeitlin, Jon Jang and Taylor Eigsti, each known as an inventive and fascinating musician, will take the stage at Yoshi's to benefit the station. 
 
"It's kind of a one-time summit, and that's really the appeal to it," said Chuy Varela, the event's organizer and music director for the station. "When you think about the tradition of Bay Area jazz piano, you think of Dave Brubeck, Vince Guaraldi, the many others who have been there. These guys have carried the torch from there." 
 
"Denny is kind of the old-schooler, and he's getting a lot of respect right now for all he's done, all his early work for Columbia," Varela said. "He's also a practicing psychiatrist; he's also written scores for 'Invasion of the Body Snatchers' and other movies. He's quite an innovator." 
 
Jang, who grew up locally and worked with renowned drummer Max Roach, "has been really instrumental in the Asian-American jazz movement," Varela said. "For him to do solo piano like this really takes away the bridles, if you will. He'll be able to move around freely." 
 
The young buck of the ticket is Eigsti, who in the past three years has become one of the major pianists emerging in the U.S., Varela said. 
 
"You get these three pianists, all very much stylists, individuals who all have something to say, and they're going to say it in a warm and intimate room in a solo piano concert," Varela said. "We're not using any amplification. The room is such a beautiful sounding room, this will just allow it to breathe and have this organic presentation to it." 
 
Tickets will run $50 each, and if both performances sell out, the station should be safe, Varela said. 
 
"People want to help, and part of it is that there are folks that are hurting, and there are folks that are not hurting, but they're being more cautious," he said. "Maybe they see this as a worthy cause and one they have a feeling for, that it will help make this a success." 
 
General manager Marilyn Lawrence said the situation is even more serious at KCSM's television station, and layoffs have been announced. On June 24, she said, she will make a presentation to the board of trustees for the station, at which time she expects they will decide whether to keep both stations or sell one or both. 
 
"In hard times, the first thing to go is culture," Berzon said. "I understand that; we all need to eat, put roofs over our heads, feed our families. But culture, whether it's music, art, literature, it gets us through difficult times and feeds us in a way I personally think is necessary." 
 
KCSM-FM broadcasts at 91.1 and can be streamed online for free at www.kcsm.org. For more information about the event or to donate to the station, visit the Web site or call 800-477-5276.

Uptown Unveiled Tonight 5-10pm

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Rare Feet Light Up San Francisco Nights:

The Six Limbs of El Negro

by Wesley Watkins

http://doctorsafewes.blogspot.com/

 

When Eddie Palmieri, "The Sun of Latin Music", shines his signature sound on the San Francisco Yoshi's June 18th - 21st, show-goers will be treated to an exclusive assembly of Latin Jazz luminaries. Among them is one star whose light seldom shines on the Bay Area. Like a comet orbiting the gravitational pull of Palmieri's 50 years in the business, the Yoshi's audience will have a rare opportunity to see one of the greatest Afro-Cuban drummers of all time: Horacio "El Negro" Hernández, master of the left foot clave technique.

 

"He's one in a million," says Walfredo Reyes, Sr., another Cuban drum pioneer. Reyes was the first to incorporate Cuban percussion instruments into the traditional jazz drum kit starting in the early 50s. This makes him El Negro's predecessor in a long line of Cuban rhythmic innovators that includes Candido Camero, the first to trigger the clave pattern on a cow bell by using a foot pedal. Though Reyes has a left foot clave rig on the practice kit in his Bay Area home, he acknowledges El Negro as the foremost expert.

 

"There are people that try clave on the left foot all over the world, but Negro is exceptional. His clave is so beautiful. Negro maintains that rumba clave so nice and soft--it's like a dream."

 

Even though he is widely considered the reigning king of the left foot clave, try running the word "master" by El Negro and you will be met with a humility truly fitting of the title.

 

"How can I say I mastered it? It's so endless--forget about it," says Hernández. "The beauty of it is that the more you advance the longer you can see. So, you advance this little bit and you see that there's another mile out there. And then a little bit more, and then four more miles! The more you go, the farther it gets. Forget it!"

 

Even if rhythmic possibilities are infinite, El Negro is miles ahead of all others who attempt the rhythmic feet (pun intended). What sets his technique apart is the independence of his remaining three limbs while his left foot keeps the clave pattern rock steady. "Other drummers will turn the rumba clave into the son clave [by displacing the third accent in the pattern], but when El Negro puts it in, it stays rumba--and on hard tunes, too! Even odd meters," marvels Reyes.

 

In addition to playing the clave pattern, El Negro's left foot will hop back and forth between the cowbell and hi-hat pedals, making it seem there is someone else playing the bongo bell on the down beats while the hi-hat claps together on two and four. The left foot--almost another member of the band--will also trigger the second bass kick pedal, adding an intense rumble to solos and grooves alike. All the while, El Negro's other three limbs remain completely free.

 

But El Negro's playing is no gimmick. No matter how complex a polyrhythm, each hit is executed with supreme touch. A bell pattern, for example, is played by his right hand as if there were a percussionist on the stand playing just that pattern, never mind the three other instruments that same hand might be hitting to complete the groove, and never mind the other three limbs. He's also not one to grand-stand. El Negro plays only what the music calls for, and can slip into the background, propelling the music as much through feeling as with sound. This is Afro-Cuban or Latin Jazz, after all. It's about communication--having a conversation. And to converse with anyone, you must hear them and respond.

 

This brings us to El Negro's fifth limb: his ears. Amidst the flurry of magic hands and dancing feet, he is always listening and reacting to other musicians on the stand with the utmost precision, sometimes anticipating where they are headed before they have arrived at the crossroads themselves. El Negro equates this with the independence of his limbs:

 

"You see, that is coordination. Coordination is not just about your limbs, it is about your ears, too. I mean, you have to play, you have to learn, but it's about freedom in the end. What we're learning is freedom. Freedom to do anything you want to do, but you're listening to what's happening in the music."

 

"There is a teacher, Gary Chester, who wrote an amazing book called The New Breed. He was the first one to create a system of singing on top of all the coordination exercises. So it's like you are learning another limb, and that was very helpful to keep a channel open for your ears. It teaches you to play and also remain totally alert to anything that is happening around you--and not just listening to the music. You can be listening to the music, and watching a girl, and talking to somebody else about the movie last night, and keep on playing at the same time--keep on rocking it!"

 

El Negro has developed a book and demonstration DVD, Conversations in Clave, which break down the development of four-way independence in Afro-Cuban rhythms. But don't think you can buy the book, practice for a while, and come out of the shed charging extra for your left foot at the next gig. It took El Negro five years to get comfortable with the clave as a pattern, and another ten years in order to develop freedom against the pattern. And we're not talking a few hours a day, either. "You want to know the secret? Practice from eight [am] to eight [pm]!"

 

This brings us to what I consider El Negro's sixth limb: his heart, or his love of playing drums. Not surprisingly, this was evident from a very young age. El Negro's uncle bought him his first drum set when he was only four years old. "I played it so hard that I destroyed it in four days! I was having the best time of my life. I put it in front of the TV--I will never forget--I put the TV to the music program, and right there I put my drums. It was great!" He was gigging professionally as a teenager, and he took over the drum chair from Ignacio Berroa at EGREM Studios in Havana, where for years he recorded 24 hours a day, taking only cat naps on a mattress upstairs between sessions.

 

"I have never had to force myself to practice or to play--never. There is nothing for me more pleasant than having a coffee in the morning and getting into my studio. And maybe I don't get into the studio and go to the drums straight away. Maybe I turn on the computer and sit down and listen to what I put down the last time, but sooner or later I say, 'I wanna play my drums.'"

 

In fact, El Negro wants to play his drums in a way that no drummer ever has.

 

"You see, Giovanni [Hidalgo] can play a concert of one hour by himself--easy--and you will be on the edge of your seat the entire time! Zakir [Hussein] also can play for one hour. I think it's time for us drummers now. Somebody has to make it there: to be able to sit down for one hour and make music like that."

 

While Giovanni Hidalgo and Zakir Hussein, the world's leading conga and tabla masters, respectively, play tuned percussion, El Negro does not see any melodic limitations with the drum kit. He views the piano as 88 drums, and he approaches playing drums as a melodic endeavor, not merely a rhythmic one.

 

"I like to make music with my instrument, not just use it to accompany somebody rhythmically, but to make melodic music out of it--which I believe is possible. And I know that the possibilities are right there in the drums. I know you can sing a song with just the drums. You have to be a bad mother in the best shape of his life, but it's possible. It's endless. All I wish is that I could be in my studio for one year without having to travel. I know that if I could just get in there for one year, I could come out like Einstein!"

 

El Negro's rare genius only comes to town maybe once every two to three years. Do not miss this opportunity to see one of the all time drumming greats display his unparalleled ability.

 

Eddie Palmieri and the Pan-Caribbean Summit featuring David Sanchez, Giovanni Hidalgo, Bryan Lynch, Carlos Henriquez, and Horacio "El Negro" Hernandez

Exclusive engagement only at the San Francisco Yoshi's

Thursday, June 18th - Sunday, June 21st

Thursday 8pm & 10pm shows $35

Friday and Saturday 8pm & 10pm shows $38

Sunday 2pm matinee $5 (children), $18 (adult with child), $38 (general adult)

Sunday 7pm show $38

www.yoshis.com/sanfrancisco

 

 

11th Annual Healdsburg Jazz Festival May 29 - June 7

The 1th Annual Healdsburg Jazz Festival is in full swing with music every night through Sunday, June 7. This is jazz at its finest.

For more information, go to www.healdsburgjazzfestival.org/wordpress.

9th Annual Malcolm X Jazz Arts Festival - May 30

Seize the Time! The 9th Annual Malcolm X Jazz Arts Festival!
Saturday, May 30th, 11-7pm, San Antonio Park (18th Ave + Foothill Blvd)
EastSide's 9th annual Malcolm X Jazz Arts Festival is one of the last free festivals in Oakland, so come and enjoy! One of the most important pieces of our festival are the community of local artists and food vendors.

For more information, www.eastsideartsalliance.org

ICA Generations Jazz Band

Editor's Note: Trumpeter Jeremy Pelt will be replacing Terrell Stafford tonight.

Generations Band, featuring Jimmy Cobb and Eric Alexander, returns to Yoshi's SF on Wednesday and Thursday, May 6 & 7

Two sets Wednesday night and "Battle of the Combos" Competition Finals on Thursday

April 3, 2009--For immediate release
Media contact: Jerry Karp at (707) 895-2799 or jerry@rocketwords.com

(San Francisco, CA) The Generations Band, an all-star sextet featuring Jimmy Cobb, Eric Alexander, Andrew Speight, Terrell Stafford, David Hazeltine and Ray Drummond, will make its return to Yoshi's San Francisco for two nights of special event concerts on Wednesday and Thursday, May 6 and 7, 2009. On Wednesday night, the Generations Band will offer two full-length sets of extraordinary jazz. On Thursday night, they will perform along with the two finalist bands of the second annual Generations Jazz Program International Competition for Emerging Jazz Combos in a dramatic "Battle of the Combos" to determine the winner of this unique competition.

Two sets by dynamic, all-star Generations ensemble on Wednesday night, May 6

A multi-generational, power-laden group, the Generations Band has been performing together on a semi-regular basis for over a year. Brought together to serve as ambassadors and teachers for the International Center for the Arts at San Francisco State University's Generations Jazz mentorship program, the Generations Band quickly coalesced into a fluid yet hard-hitting post-bop ensemble. In 2008 they released their first CD, Tough Guys, on the ICA label. The band was in San Francisco this past February for a series of workshops on college and high school campuses across the Bay Area. If their performance at Knuth Hall on the SF State campus that week gives any indication, their two-set Wednesday night show at Yoshi's SF is going to throw off sparks aplenty. There will be two sets, at 8:00 and 10:00 pm. Tickets are $20.00 per set.

Two young bands square off in "Battle of the Combos" on Thursday night, May 7

The Generations Jazz Program got off the ground last year at Yoshi's San Francisco in rousing fashion, as the New York City-based Nial Djuliarso Quartet won the first annual Generations Fellowship in an on-stage dual over the sextet Meaningtone, from Purchase, New York. The Generations Band opened with a short set, then each finalist band played three numbers, with a fellowship riding on their performance. The standing room only crowd, fully won over by the Djuliarso Quartet's rousing performance, rose to cheer the announcement of their victory. The following jam session, with all hands on deck from the Generations Band and both finalist groups, provided a stirring conclusion to a very special night. That same energy is bound to be replicated when this year's finalists square off on the Yoshi's stage to see who will earn the prestigious Generations Fellowship. Once again, the Generations Band will open the show and join the young musicians on-stage for a jam session finale. This great show will be produced as a single night-long program. Tickets are $15.00 for the entire evening.

A hard-hitting CD makes a strong impression

The Generations CD, Tough Guys, was welcomed warmly by jazz fans and radio programmers, breaking the JazzWeek Top 20 and gaining radio airplay across the country. Dick Bogle of the Portland Scanner said of the CD and the Generations Band, "All these men are deeply rooted in the jazz tradition and here together demonstrate what swinging is all about." Ashante Infantry of the Toronto Star wrote, "They're serving up smoking interpretations of Cole Porter, Thelonious Monk and Antonio Carlos Jobim gems." And Village Voice contributor Ken Franckling listed Tough Guys among his "10 Best of 2008."

Tough Guys features the band's original lineup, with Ronnie Mathews on piano and Marcus Belgrave on trumpet. Sadly, Ronnie passed away last year. But the Generations piano chair has been filled in extraordinary fashion by David Hazeltine, of whom famed jazz writer Ira Gitler says, "It is obvious to me that the hip-without-fanfare Hazeltine is a standout." At the same time, rising trumpet star Terrell Stafford came on board, replacing Belgrave. None other than McCoy Tyner calls Stafford, "One of the great players of our time." In December this new lineup gathered in New York's historic Clinton Recording Studio to lay down tracks for their second CD, which is scheduled for an early May release.

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For Tickets: Call (866) 920-JAZZ or go to www.sfjazz.org/box/buy/tickets.asp

Derek Lassiter @ Red Devil Lounge 01

This reminder comes my singer friend Derek Lassiter:

Love/Life is the title of my upcoming show at
The Red Poppy Art House. Brand new original tunes,
fresh interpretations of cover songs and some special surprises
are planned for the evening.

Please view the event flyer online.

date/time: Friday April 17th; 8-10pm (limited seating so arrive early)
location: The Red Poppy Art House 2698 Folsom @23rd St., San Francisco CA.
cover: $10-15 (sliding scale)
band: Art Khu-piano/guitar, Sam Bevan-bass, Brian Rice-drum/percussion, Yoon Ki Chi-violin

The Red Poppy Art House welcomes minors.

I look forward to seeing you.

Derek Lassiter

Photo Credit: James Knox

My Funny Valentine

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A rose for each year of life and love

In celebration of Valentine's Day, I searched my music collection and found 22 versions of the Rodgers and Hart classic gem,"My Funny Valentine" which was first featured in the Broadway musical "Babe in Arms" in 1937.

Below are the versions of "My Funny Valentine" in my music collection. Notably, on the Frank Sinatra/Lorrie Morgan duet, Frank sings "My Funny Valentine" while Lorrie sings "How Do You Keep The Music Playing." Also, Tracy Hamlin is the featured vocalist on Pieces of a Dream's Love's Silohuette album. My favorite renditions? I will give you three guesses...lol!!!

Ahmad Jamal - Complete Live At The Pershing Lounge 1958
Anita Baker - Rhythm Of Love
Bill Henderson - His Complete Vee Jay Recordings - Vol. 1
Chaka Khan - Waiting To Exhale Movie Soundtrack
Chet Baker - My Funny Valentine
Cyrus Chestnut - Another Direction
Cyrus Chestnut - The Dark Before The Dawn
Dakota Staton - The Late, Late Show
Dianne Reeves - The Palo Alto Sessions 1981-1985
Ella Fitzgerald - The Complete Ella Fitzgerald Song Books
Etta James - Time After Time
Frank Sinatra/Lorrie Morgan - Duets 2
Hank Jones - The Great Jazz Trio Autumn Leaves
Jamie Davis - It's A Good Thing
McCoy Tyner - Live At Newport
Miles Davis - My Funny Valentine
Oscar Peterson - Tenderly (1958)
Pieces Of A Dream - Love's Silhouette
Rachelle Ferrell - First Instrument
Rachelle Ferrell - Live In Montreux 91-97
Shirley Horn - I Remember Miles
Sarah Vaughan - Jazz After Dark (Disc 2)

Update: My music buddy TGrundy posted a tasty selection of "My Funny Valentine" versions over at his site, Rhythms In Black Satin. Check him out.

Terrence Brewer Group @ Pearl's 06

FOR IMMEDIATE RELEASE

JAZZ GUITARIST TERRENCE BREWER ANNOUNCES NEW CD
"GROOVIN' WES"
A MUSICAL EXPRESSION OF ADMIRATION FOR WES MONTGOMERY

FEATURING WIL BLADES - HAMMOND B-3 ORGAN & MICAH MCCLAIN - DRUMS

"LOTS OF GUITARISTS CAN IMITITATE WES MONTGOMERY, I WANTED TO PAY TRIBUTE TO HIM WITH MY OWN VOICE - - TERRENCE BREWER

NATIONAL RELEASE DATE MARCH 2, 2009

(ALAMEDA, CA JANUARY 1, 2009) -- Following up on QuintEssential, his third album for the Strong Brew Music label, San Francisco based jazz guitarist Terrence Brewer pays homage to the man who set the standard for modern jazz guitar - Wes Montgomery.

After receiving both regional and national acclaim for his all original albums, The Calling: Volume One and Volume Two (2006) and QuintEssential (2008 - 12 weeks on the JazzWeek album charts peaking at #17), Brewer is set to light up the jazz scene once again with Groovin' Wes, music written and popularized by one of jazz guitar's greatest hero, Wes Montgomery.

On Groovin' Wes, Brewer is joined by a familiar cast: B3 organist Wil Blades (John Lee Hooker, Dr. Lonnie Smith, Idris Muhammad, Stanton Moore, winner of 'Downbeat' magazines "Rising Star" poll) and drummer Micah McClain (Red Rodney, David Baker and James Moody). Both Blades and McClain are veterans when it comes to working with Brewer; Blades is featured on The Calling: Volume Two and McClain has held the drum chair on two of Brewer's previous albums, The Calling Volume One and QuintEssential.

Recorded by chief engineer Stephen Hart (McCoy Tyner, Oscar Peterson, Joe Pass, Branford Marsalis, Flora Purim and Airto) at the world famous Fantasy Studios in Berkeley California, Groovin' Wes will, take you on a journey; rejuvenating the classic Guitar, Organ, Drums trio sound like never before. From burnin' up-tempo swing to funky Soul-Jazz backbeats, Groovin' Wes is a masterpiece.

("A naturally gifted player with a beautiful, warm tone and a melodic penchant, his playing is eminently pleasing..." Bill Milkowski, Jazz Times. Brewer is the recipient of the Oakland Metropolitan Chamber of Commerce, 'Artist of the Year" Award and the winner of San Francisco Weekly's, 'Best Jazz Artist' Award. Dan King of the San Francisco Chronicle proclaimed, Brewer is, "the reason the Bay area jazz scene looks promising".)


Terrence Brewer Bio

Jazz Guitarist Terrence Brewer, Winner of the SF Weekly Music Award for 'Best Jazz Artist' and winner of the Oakland Chamber of Commerce 'Artist of the Year Award', continues to ride a wave of positive press and praise surrounding his third album for his Strong Brew Music label, QuintEssential. After receiving both regional and national acclaim for his all original albums, The Calling: Volume One and Volume Two (2006), QuintEssential, released in March of 2008 spent 12 weeks on the JazzWeek album charts peaking at #17.

"Brewer has a natural, inviting sound that instantly transports you back to the heyday of classic jazz guitar..." writes David Rubien (San Francisco Chronicle feature on Brewer March 20, 2007). Brewer's playing has been hailed as, "powerful", "smooth", "beautiful", "mature", and "graceful" and The Calling: Volume One and Volume Two albums have been referred to as, "seductive", "sensuous", and "gorgeous". Andy Gilbert (Contra Costa Times) remarks, "Over the past decade, Brewer has established himself as an accomplished improviser with an exquisite tone. His (Brewer) sound is marked by a balance and maturity..." while the San Francisco Chronicle included Brewer in a short list of "whom to stalk" in Bay Area jazz in 2007.

Jazz Guitarist, Composer, Arranger, and Musical Director, resides in Alameda, California. Brewer's aggressive marketing and business acumen aided him in leading his own groups in nearly 2000 shows throughout California in the last years 7 years. In addition to this impressive feat, Brewer possesses the rich experience of performing and sharing the stage with legendary artists such as Michael McDonald (the Doobie Brothers), Mary Wilson (The Supremes), Gerald Albright, Melba Moore, Darlene Love, Dr. Anthony Brown (and the Asian American Orchestra), Pete Escovedo, Babatunde Lea, Kim Nalley, Dave Ellis, Calvin Keyes, Bruce Forman, Scott Amendola, Tuck and Patti, Khalil Shaheed, Ed Kelly, Herb Gibson, and many others. In addition to performing with great artists, Brewer's fate led him to study with musical greats such as Charlie Hunter, Duck Baker, and Mark Levine.

Brewer's performances range from established weekly gigs at fine restaurants such as Butterfly and Eastside West in SF and Mezze in Oakland to private gigs for Google, The Boys and Girls Clubs of Oakland, Oakland Children's Hospital, KKSF (103.7), Wente Vineyards, Friends of Oakland Parks and Recreation, Swarm Art Gallery, CCA (California College of the Arts), UC Berkeley's Haas School of Business, Pacific Gas & Electric (PG&E), Mario Chiodo Studios, and many more. Brewer also performs at notable Bay area venues such as Mountain Winery, Herbst Theater, Smithsonian Archivists Convention, The Jazz School, Anna's Jazz Island, Café Van Kleef, Café Claude, Jupiter, sold out shows at Yoshi's at Jack London Square, Yoshi's: San Francisco, Jazz At Pearl's with standing ovations at the Jazz on the River, SFJazz Festival Summerfest Concert Series, Sonoma Jazz, Fillmore Jazz, Montclair Jazz and Marin Jazz Festivals. In addition, Brewer lends his musical talent to his local communities performing at events such as the City of Alameda's Earth Day and Run for the Parks events, Oakland Metropolitan, San Leandro, Alameda, Tracy, and Oakland African American Chambers of Commerce events, and performances at Oakland and Alameda Rotary luncheons.

MEDIA CONTACT:
Cat Brewer
510.755.0627
cat@terrencebrewer.com
www.terrencebrewer.com

Photo of Terrence Brewer at Jazz at Pearl's by James Knox

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