Podcasts about sfjazz

Show Notes:In this episode of Backstage Bay Area, host Steve Roby sits down with Swedish jazz sensation and multi-instrumentalist Gunhild Carling — a trombonist, trumpeter, flautist, harpist, bagpipe player, tap dancer, and bandleader. Known as "Sweden's Queen of Swing," Gunhild brings an infectious, high-energy blend of classic New Orleans jazz and vintage swing, earning her over 80 million social media views and fans worldwide. We talk with Gunhild from New Orleans, where she's in the middle of a residency on Bourbon Street during Jazz Fest. She shares how she grew up in a deeply musical family in Sweden, what it means to power music with feeling, and how she approaches choosing the right instrument to tell a song's story. She also reflects on her time living in the Bay Area during the pandemic — and how it inspired some of her most personal songwriting, including a love letter to San Francisco. Topics covered:Growing up in a musical family in Sweden and finding her voice at age 15The philosophy behind her multi-instrument performances and the influence of Rahsaan Roland KirkWhat "Jazz is My Lifestyle" means as a personal and artistic statementWriting I'll Wait for You in San Francisco during the pandemic lockdown in the Bay AreaHer upcoming shows at SFJAZZ's Joe Henderson Lab — May 23 & 24 — and what audiences can expect, including new songs, tap dancing, and bagpipes Music featured in this episode:"Jazz is My Lifestyle" — Gunhild Carling"I'll Wait for You in San Francisco" — Gunhild Carling Music provided by the artist and used with her permission. Both tracks are from the album Jazz is My Lifestyle, available now.Upcoming Shows — Gunhild Carling at SFJAZZ Joe Henderson Lab 

Podcast Show Notes:On this episode of Backstage Bay Area, Steve Roby speaks with Daniel Ho, a six-time Grammy-winning musician, composer, producer, and slack key guitarist, ahead of his upcoming appearance at SFJAZZ's Joe Henderson Lab.In the conversation, Ho reflects on his musical roots in Honolulu, where the ʻukulele first became part of his daily life, and traces his path from Hawaii to Los Angeles, where he studied composition and arranging at the Grove School of Music. He also discusses the mentors who shaped him, the importance of versatility, and how he continues to study and refine his craft.The interview also explores Ho's broader philosophy of music-making — spanning composition, performance, recording, mastering, instrument design, and visual presentation. He discusses how that way of thinking has shaped his long career, including his years with Kilauea, his work in Hawaiian and world music, and the creative process behind his more recent recordings.Steve and Daniel also discuss two featured songs: “Waimea Bay,” which dates back to Ho's Kilauea years and became a familiar track on Bay Area radio, and “Ríl Dé Máirt (Tuesday Reel),” from Timbre & Echoes, inspired by the Ukulele Tuesday community in Dublin.The songs featured in this episode — “Waimea Bay” and “Ríl Dé Máirt (Tuesday Reel)” — were provided by the artist and used with the artist's permission.In the final part of the interview, Ho previews his upcoming SFJAZZ show, discusses the quartet joining him onstage, and shares what he enjoys about performing in a room as intimate as the Joe Henderson Lab.Upcoming Show:Daniel HoSFJAZZ Joe Henderson LabSaturday, May 2, 20267:00 p.m. and 8:30 p.m.Links:Daniel Ho: danielho.comTickets: SFJAZZBackstage Bay Area: backstagebayarea.com

Show Notes:On this episode of Backstage Bay Area, host Steve Roby speaks with vocalist, composer, poet, and multidisciplinary artist Natasha Agrama of Instant Alter ahead of the band's Sunday, April 19, appearance at SFJAZZ's Joe Henderson Lab.Agrama discusses the origins of Instant Alter, the meaning behind the band's “future fusion” sound, and the stripped-down core concept that defines the group's distinctive voice: saxophone, bass, drums, and vocals, with no traditional harmonic instrument. She also reflects on the values behind the music, the visual and conceptual side of Instant Alter's live presentation, and the energy that led the band to document its evolving sound in a new live release.The conversation also explores the meaning of the songs “Sun Polaris” and “Oração Ao Tempo,” as well as the deeper themes of truth, change, and human connection that run through the band's work. In the final part of the interview, Agrama previews the upcoming SFJAZZ shows and discusses what audiences can expect from Instant Alter live at the Joe Henderson Lab.Songs featured in this episode:“Sun Polaris”“Oração Ao Tempo”The music featured in this episode was supplied by the artist and used with their permission.Links:Instant Alter: instantalter.comTickets: SFJAZZBackstage Bay Area: backstagebayarea.com

Show NotesSaxophonist, composer, and educator TK Blue joins host Steve Roby to celebrate one of jazz's great live traditions — the music and legacy of NEA Jazz Master Dr. Randy Weston, recorded on what would have been Weston's 100th birthday: April 6th, 2025.TK Blue was Weston's longtime musical director and arranger, performing with him for nearly 40 years alongside legends like Don Cherry, Miriam Makeba, Archie Shepp, and Pharaoh Sanders. In this conversation, TK shares his musical roots growing up in Long Island with Caribbean parents, studying jazz in New York City with Jimmy Heath, Rahsaan Roland Kirk, and others through programs like Jazzmobile. He also talks about how a chance encounter at an anti-apartheid fundraiser in Brooklyn — with only a piccolo in his pocket — launched his decades-long journey with Randy Weston.We explore the deep philosophy behind Weston's music: the African rhythmic diaspora, the African civilizations that predate slavery, and the concept of music as a sacred art that unites people of all backgrounds. TK also shares an unforgettable story about opening a hotel door for a mystery photographer in Paris — who turned out to be Henri Cartier-Bresson — and the peaceful, dignified way Randy Weston made his transition in September 2018. Songs Featured in This Episode:“The Wise One Speaks” — TK Blue, from the album The Rhythms Continue“Kasbah 330A” — TK Blue, from the album The Rhythms ContinueMusic provided by TK Blue and used with his permission. 

Show Notes:On this episode of Backstage Bay Area, host Steve Roby talks with Bay Area singer-songwriter and multi-instrumentalist August Lee Stevens ahead of her Joe Henderson Lab run at SFJAZZ. The conversation traces her musical roots, the blend of folk, soul, and jazz in her work, and the writing process behind two featured songs, “Tell Me” and “Citrus.” Steve and August talk about growing up in the Bay Area, how family and place shaped her sound, and how songs begin for her—sometimes as a phrase, sometimes as a melody, and sometimes as a feeling that keeps returning until it becomes a finished piece. The episode also looks at the emotional charge behind “Tell Me” and the family-centered inspiration behind “Citrus,” which appears on Live at the Troubadour. Songs featured in this episode:“Tell Me”“Citrus”Episode highlights:August Lee Stevens on her Bay Area musical backgroundHow folk, soul, and jazz come together in her songwritingThe story and emotional spark behind “Tell Me”The family inspiration behind “Citrus”What audiences can expect from her Joe Henderson Lab showsThe songs featured in this episode were provided by August Lee Stevens and are used with the artist's permission.August Lee Stevens' official website is ⁠augustleestevens.com⁠.Joe Henderson Lab show information:August Lee Stevens performs at SFJAZZ's Joe Henderson Lab on Saturday, April 4, at 7:00 p.m. and 8:30 p.m., and Sunday, April 5, at 6:00 p.m. and 7:30 p.m. Tickets are available here: SFJAZZ ticket linkPhoto credit: Ariel Nava

Podcast Show NotesEpisode Title:Vince Wilburn Jr. on Miles Davis, SFJAZZ, and the Miles Electric BandIn this episode of Backstage Bay Area, Steve Roby speaks with drummer, producer, and Miles Davis estate co-manager Vince Wilburn Jr. about the final night of SFJAZZ's Miles Davis centennial celebration and the larger vision behind the four-part series.Wilburn, who performed and recorded with his uncle during Miles Davis's later years, reflects on how the SFJAZZ tribute came together, why the programming moved from Doo-Bop to the Gil Evans collaborations, through Kind of Blue and the acoustic years, and finally into the electric music of the Miles Electric Band.The conversation also explores what Miles demanded from musicians, how he stayed alert to new sounds and new directions, and why his music continues to speak across generations.In this episode:How the four-night SFJAZZ Miles Davis centennial tribute was conceivedWhy Vince wanted the series to reflect multiple eras of Miles's careerWhat made the Miles Electric Band the right way to close the weekVince's memories of Miles as a listener, bandleader, and creative forceWhy Miles's music still feels alive, current, and unfinished in the best senseWilburn offers both a family perspective and a musician's perspective, making this a valuable conversation for anyone interested in Miles Davis not only as a trumpet player, but as one of the great engines of modern music.

Show Notes:On this episode of Backstage Bay Area, Steve Roby talks with pianist Monty Alexander ahead of his upcoming SFJAZZ performance.In the conversation, Alexander reflects on his musical roots in Kingston, Jamaica, where he grew up hearing popular songs, blues, semi-classical music, radio hits, and Caribbean rhythms as part of one shared musical world. He talks about learning by ear, discovering the piano as a child, and seeing Louis Armstrong live at a young age — a moment that helped set his life in motion.Alexander also discusses the spirit that runs through his music: camaraderie, spontaneity, groove, and joy. He shares thoughts on playing in the moment, working with his trio, and why he has never believed in hard borders between styles. For him, it all comes back to one word: music.In the final part of the interview, he previews his upcoming SFJAZZ show and talks about what audiences can expect from an evening built on improvisation, warmth, and deep musical connection.In this episode:Monty Alexander's early years in KingstonLearning music by earSeeing Louis Armstrong as a boyWhy he hears all styles as one musical languageSpontaneity, groove, and joy in performanceWhat to expect at SFJAZZSFJAZZ show details:Monty Alexander TrioSunday, March 29, 20267:00 PMMiner Auditorium, SFJAZZ Center, San Francisco

Show Notes:On this episode of Backstage Bay Area, Steve Roby talks with acclaimed alto saxophonist, composer, and bandleader Lakecia Benjamin about her upcoming album We Dream and the energy behind her new single “Flamekeeper.”Lakecia discusses the meaning behind We Dream, why she wanted the album to feel communal, and how hope, purpose, and positivity shaped the project. She also talks about “Flamekeeper,” the new single featuring Hiromi and Chris Potter, and explains how those artists elevated the music in the studio.In the final part of the conversation, Lakecia previews her upcoming SFJAZZ appearance as part of Terence Blanchard's UpSwing series, talks about the musicians joining her on stage, and shares what audiences can expect from the live set.We Dream is due June 5, and “Flamekeeper” is out now. Lakecia's SFJAZZ performance is set for Saturday, March 28, 2026, at 7:30 p.m. in Miner Auditorium, on a double bill with Pasquale Grasso Trio. In this episode:Lakecia Benjamin on the idea behind We DreamThe spirit and sound of “Flamekeeper”Working with Hiromi and Chris PotterWhy collaboration matters in her musicWho's joining her on stage at SFJAZZWhat audiences can look forward to at the UpSwing showSFJAZZ show details:Lakecia Benjamin / Pasquale Grasso TrioSaturday, March 28, 20267:30 PMMiner Auditorium, SFJAZZ Center, San Francisco Links:Tickets and info: https://www.sfjazz.org/tickets/productions/25-26/upswing-lakecia-benjamin-pasquale-grasso-trio/Photo: Elizabeth LeitzellMusic in this episode was provided by and used with the permission of the artist.

Show NotesDrummer Lenny White experienced the Miles Davis story firsthand. As a teenager, Miles selected him to record Bitches Brew — not because Davis had heard him play, but based solely on word of mouth. That decision reveals a lot about how Miles worked. In this conversation, Lenny explains the philosophy behind Miles's legendary leadership style: how he used metaphor instead of instructions, space instead of clutter, and intuition instead of explanation. From the famous "be the salt in a big pot of stew" directive to the idea that Miles only told you when you got it wrong — Lenny describes what it actually felt like to be shaped by one of music's greatest minds. Lenny also shares what he's learned teaching the Miles Davis aesthetic at NYU Steinhardt and The New School, why Kind of Blue is just one entry point into a much larger story, and how the context of 20th-century music-making is something today's students have to consciously work to understand. The episode ends with a preview of SFJAZZ's tribute to Miles Davis's acoustic years, featuring Lenny alongside Javon Jackson, Dr. Eddie Henderson, and others — a celebration of music that, as Lenny says, still raises questions worth asking 50 and 60 years later. In this episode:How Miles selected musicians — and what that reveals about his genius The "pot of stew" lesson and the art of teaching through metaphorWhat Miles taught by silence, withholding, and redirectionWhy Kind of Blue isn't the whole pictureThe difference between how music was made then vs. now — and why it matters for studentsTeaching the Miles Davis aesthetic at NYU and The New SchoolWhat Lenny hopes audiences feel at the SF Jazz tribute Links & Resources:SF Jazz Miles Davis Tribute — March 21st, 4:00 PM & 7:30 PM → sfjazz.orgLenny White at NYU SteinhardtBackstage Bay Area is hosted by Steve Roby. Subscribe, rate, and review wherever you listen to podcasts.

The Oakland vocalist's music is a blend of hip hop, R&B, soul and jazz. Like good, old-soul jazz that reminds Host Jeneé Darden of the kind of jazz she used to hear out of her Texan granddaddy's truck.

Bay Area hip-hop icon Lyrics Born talks about his new song and upcoming concert. Then, we get an update on the fate of the Mission Cultural Center for Latino Arts. And a young Oakland singer is gearing up for his first SFJazz Show.

The visionary pianist and SFJAZZ Resident Artistic Director returns for a multi-night residency that fuses Afro-Cuban roots with global sounds, which he calls the ultimate "Temple of Jazz."Show Highlights: A Week of Musical EvolutionSosa's residency at SFJAZZ offers an insight into his diverse musical pursuits across four distinct nights.Thursday, Mar 5: Sosa joins the Stanford Jazz Orchestra to perform music from the album Es:Sensual.Friday, Mar 6: Following an Open Soundcheck, Sosa performs with the Aguas Trio, featuring Yilian Cañizares, a collaboration that previously earned him a Premios LUCAS for Best Song Video.Saturday, Mar 7: The focus shifts to the Omar Sosa Quarteto Americanos.Sunday, Mar 8: The residency closes with the Suba Trio, showcasing material from their 2021 album SUBA—a "hymn to hope" for a post-pandemic world.If You GoWho: Resident Artistic Director Omar Sosa Dates: Thursday, March 5 – Sunday, March 8, 2026 Times: 7:30 PM (Thu-Sat); 7:00 PM (Sun); 4:30 PM (Fri Soundcheck) Venue: SFJAZZ Center, Miner Auditorium Address: 201 Franklin Street, San Francisco, CA 94102Tickets: https://www.sfjazz.org

Episode Description:Guitarist, composer, and bandleader Oscar Peñas joins host Steve Roby to discuss his musical journey from classical guitar in Barcelona to the vibrant jazz scene of Brooklyn. Originally from Spain and based in New York since 2007, Peñas brings a unique voice to contemporary jazz—one that blends American jazz language with Spanish heritage and classical roots.In this intimate conversation, Oscar shares stories about discovering jazz through cassette tapes in the late '80s, the magic of recording with the legendary Ron Carter, and what it means to be truly locked in with his trio on stage. He also discusses the evolving landscape for independent jazz artists, his upcoming suite "Remote Hoods" (a tribute to New York's diverse neighborhoods), and what audiences can expect from his return to SFJAZZ's Joe Henderson Lab. Songs Featured:"Ballad of the Fishermen" (from Almadraba, 2022) – featuring Ron Carter"Traveling Through Waters" (from Almadraba, 2022) – featuring Ron CarterAll music supplied by and used with permission from Oscar Peñas. Show Details:Oscar Peñas TrioVenue: Joe Henderson Lab at SFJAZZDate: Saturday, February 21stShowtimes: 7:00 PM & 8:30 PMTickets: sfjazz.orgFor more about Oscar's music, recordings, and tour dates, visit oscarpeñas.comPhoto: Jimmy Katz

SHOW NOTES: In this episode of Backstage Bay Area, host Steve Roby sits down with Haitian American jazz vocalist Tyreek McDole to discuss his meteoric rise in the jazz world, his chart-topping debut album, and his philosophy that music is a tool for healing and collective dreaming. In This Episode: • Early Recognition: How winning the Outstanding Vocalist Award from Wynton Marsalis at age 18 and the 2023 Sarah Vaughan International Jazz Vocal Competition launched Tyreek's career • "Open Up Your Senses": The story behind his 2025 debut album that hit #1 on JazzWeek and earned four stars from DownBeat Magazine • Music as Healing: Tyreek shares how "The Sun Song" transformed his own life and why he's committed to singing it for the rest of his career • Bridging Traditions: How Tyreek connects Louis Armstrong's romantic tradition with avant-garde influences like Pharaoh Sanders and Nicholas Payton • The Power of Listening: Why opening up our senses—especially in today's turbulent times—is more important than ever • Multi-Generational Collaboration: Working with jazz legends like Kenny Barron, Rodney Whitaker, and Sullivan Fortner alongside rising stars • Live at SFJAZZ: What to expect from his intimate performances at the Joe Henderson Lab with his touring quintet • What's Next: A sneak peek at his sophomore album and upcoming world tour Featured Tracks:"The Sun Song""Won't You Open Up Your Senses" (title track)Catch Tyreek McDole Live:SFJAZZ Center's Joe Henderson LabFebruary 12-13, 2025Two shows nightly: 7:00 PM & 8:30 PMTickets: sfjazz.org

In this episode, host Steve Roby sits down with acclaimed trombonist, producer, and educator Delfeayo Marsalis. A 2011 NEA Jazz Master and a member of New Orleans' legendary musical first family, Marsalis has earned a reputation as a "merchant of joy" and as a vital ambassador for the Crescent City's culture. Delfeayo shares stories from his childhood in Kendall, Louisiana, where he shared a room with his father, Ellis, while his brothers, Branford and Wynton, shared another. He explains how his parents shaped his approach to the bandstand and his belief that music is not only what is on the page but also what you hear and experience. We also dive into the origins of the Uptown Jazz Orchestra (UJO)—a 14-piece ensemble founded in 2008 to preserve and advance the city's street rhythms, swing tradition, and brass-band energy. In this episode, we discuss:The 10-Course Meal: Why Marsalis views his live performances as a diverse culinary journey, moving from high-energy funk to soulful ballads. The Spirit of Mingus: The coincidental and "hip" origins of "Raid on the Mingus House Party," including its accidental connection to a famous superhero theme. Sidewalk Sizzle: How a fan at a local gig provided the perfect title for a funky anthem that captures the heat of a New Orleans street. Authentic Swing: Why the tradition of swinging is an essential, yet often overlooked, component of the modern big band sound. Show Details & TicketsDon't miss Delfeayo Marsalis & the Uptown Jazz Orchestra performing "Uptown On Mardi Gras Day" at the SFJAZZ Center! Date: Thursday, February 19, 2026 Time: 7:30 p.m. Venue: Miner Auditorium, SFJAZZ Center Tickets: Available at SFJAZZ.org Official Website: www.dmarsalis.com Uptown Jazz Orchestra: www.uptownjazzorchestra.com

In this episode, host Steve Roby sits down with Grammy-winning Brazilian mandolin virtuoso Hamilton de Holanda to discuss his innovative approach to the 10-string bandolim, the deep connections between choro and jazz, and his upcoming SFJAZZ performance. Episode Highlights:Hamilton shares his musical upbringing in a family where instruments were his childhood toys, receiving his first mandolin as a Christmas gift at age five in 1981. He discusses the power of the trio format with drummer Big Bel and keyboardist Thiago Alves, calling it the "perfect formation" that allows complete musical freedom.The conversation explores two featured tracks from Hamilton's Latin Grammy-winning live album, recorded in New York City:"Afro Choro" – Composed during the 2020 pandemic as part of a prolific period in which Hamilton wrote over 300 songs, this piece celebrates the African roots of choro music and features a stunning improvisation by saxophonist Chris Potter that bridges Brazilian and American jazz traditions."o1 Byte 10 Cordas" – Inspired by Hamilton's stepson (a tech genius who also plays the 10-string mandolin) and the classic Afro Sambas album by Baden Powell and Vinicius de Moraes, this composition reflects Hamilton's philosophy of bridging tradition and modernity.Hamilton describes his artistic mission as finding "the perfect way to play between the modern and the traditional," a philosophy that extends beyond music into his daily life. Upcoming Performance:Hamilton de Holanda TrioSF Jazz Center – Miner AuditoriumFriday, January 16th at 7:30 PM The trio will perform selections from their Latin Grammy-winning live album plus brand new compositions written during their current U.S. tour. Expect an evening of virtuosic musicianship, deep Brazilian tradition, and fearless improvisation.Get Tickets: https://www.sfjazz.org/tickets/productions/25-26/hamilton-de-holanda-trio/ Keeping Jazz Alive in the 415. We're Backstage Bay Area!

Brazilian guitarist and composer Chico Pinheiro joins Backstage Bay Area to talk about his musical journey, his duo collaboration with Vinicius Cantuária, and the stories behind his compositions “City of Dreams” and “Estrada Real” ahead of their upcoming SFJAZZ performances.A DownBeat Rising Star guitarist, Pinheiro reflects on his early start as a working musician in São Paulo, how Jimi Hendrix first pulled him to the guitar, and why “fun” has always been central to his artistic philosophy. He also explores the emotional geography behind “City of Dreams,” written during his move from São Paulo to New York, and the historical resonance of “Estrada Real,” inspired by Brazil's colonial-era gold route.Pinheiro also shares how his partnership with Vinicius Cantuária grew from admiration into a deep musical simpático, and what audiences can expect from their intimate duo sets—original music, Brazilian classics, Jobim, and spontaneous interplay shaped by close listening.

Episode Summary: In this episode of Backstage Bay Area, we sit down with two-time Grammy Award-winning pianist and composer Taylor Eigsti. A Menlo Park native who released his debut album at age 14, Eigsti has evolved from a local prodigy into one of the most versatile and celebrated voices in modern jazz. Fresh off his 2025 Grammy win for Best Contemporary Instrumental Album (Plot Armor), Eigsti joins us to discuss his deep Bay Area roots, the emotional architecture of his latest compositions, and his upcoming homecoming performance at SFJAZZ.In This Episode:·       From Prodigy to Peer: Eigsti reflects on his upbringing in a music-filled household, the profound influence of his late sister and father, and the pivotal mentorship he received from local legends like Dr. Herb Wong and Bud Spangler.·       The Animation of "Sparky": We dive into the backstory of "Sparky" from the album Tree Falls. Eigsti reveals how the 1987 animated film Sparky's Magic Piano—a childhood favorite about humility and practice—inspired the track's structure and its complex, 130-track production.·       Crowdsourcing a Symphony: Eigsti breaks down his massive 2022 commission for the Hewlett Foundation, "Imagine Our Future." He explains the Herculean task of weaving over 100 diverse submissions from Northern California youth—ranging from poetry to visual art—into a cohesive piece for a 12-person ensemble.·       Turning Grief into Art: In a deeply personal segment, Eigsti opens up about "Fire Within" from his latest album, Plot Armor. He discusses the process of adapting his late mother's writings on dementia into lyrics, brought to life through a poignant collaboration with vocalist Lisa Fischer and guitarist Julian Lage.·       SFJAZZ Preview: A look ahead to his January 17th double bill at Miner Auditorium with saxophonist Melissa Aldana. Eigsti introduces his band for the evening—Oscar Seton (drums), Charles Altera (guitar), and Jonathan Marin (bass)—and hints at the unique energy of this specific lineup.Featured Music:·       "Sparky" – from Tree Falls (2021) ·       "Fire Within" – from Plot Armor (2024) Key Links:·       Get Tickets for SFJAZZ show: Taylor Eigsti & Melissa Aldana at SFJAZZ (Jan 17)·       Stream the Album: Listen to Plot Armor on Spotify·       Watch: Sparky's Magic Piano (YouTube)·       Artist Website: Taylor Eigsti Official Site

Show Notes:In this episode of Backstage Bay Area, host Steve Roby sits down with Grammy-nominated saxophonist and composer Melissa Aldana. As the first female instrumentalist and first South American to win the Thelonious Monk International Jazz Saxophone Competition, Melissa shares her remarkable journey from Santiago, Chile, to the global jazz stage.Highlights:•    Melissa discusses her early influences, including her family's musical legacy and the pivotal moment she switched to tenor sax after hearing Sonny Rollins.•    Insights into her creative process, the importance of transcribing jazz greats, and learning to embrace her own sound.•    The story behind her latest Blue Note album, Echoes of the Inner Prophet, and how it honors the late Wayne Shorter.•    A preview of her upcoming album Filin, produced by Don Was, featuring Central and South American ballads and collaborations with renowned artists.•    Reflections on music as a tool for personal growth and connection.•    Details about her upcoming performance at SFJAZZ's Miner Auditorium as part of the Upswing series, sharing the stage with pianist Taylor Eigsti.•     Featured Tracks:•    “Unconscious Whispers” from Echoes of the Inner Prophet•    “Echoes of the Inner Prophet” (title track) Links & Resources:•    Melissa Aldana Official Website•    Echoes of the Inner Prophet on Blue Note Records•    SFJAZZ Tickets & Info•    DownBeat Magazine•    Follow Melissa Aldana on Instagram Upcoming San Francisco Show:•    Date: Saturday, January 17th•    Venue: Miner Auditorium, SFJAZZ Center•    Double Bill: Melissa Aldana & Taylor Eigsti•    Get Tickets 

Episode: Sasha Berliner at SFJAZZ — Recontextualizing the VibraphoneIn this episode, we welcome San Francisco native Sasha Berliner, a vibraphonist, composer, and producer whose work serves as a spectral map of contemporary music. Berliner has emerged as a primary voice in the New York scene by deconstructing the traditional boundaries of her instrument, blending a rigorous jazz foundation with the kinetic, "genre-blurring" spirit of the Bay Area.We discuss her journey from rock drumming in Oakland to studying harmony with Stefon Harris, and her current trajectory toward a new "electric" aesthetic inspired by the fusion giants of the 1970s.Bay Area Foundations: Berliner attributes her experimental spirit to growing up within the artistic landscape of the San Francisco Bay Area and her formative years at the Oakland School for the Arts.A Diverse Sonic Upbringing: Her musical identity remains rooted in an eclectic mix of rock, alternative music, and hip-hop. She notes that her father's history in the local punk scene, specifically his work with the band Alice Donut, significantly influenced her approach.The Influence of Stefon Harris: Moving to New York to study with Harris was a pivotal shift. She utilizes his system of relating harmony to specific emotions as a cornerstone of her compositional process, allowing her music to "speak" without the need for lyrics.Recontextualizing the Vibraphone: Berliner actively works to move beyond "antiquated" associations of the vibraphone, creating a sound that reflects modern textures rather than solely adhering to mid-century jazz archetypes.The Electric Evolution: Her upcoming project, slated for late 2026, focuses on an all-electric ensemble featuring synths and electric bass. This direction draws inspiration from groups like Weather Report and The Headhunters, as well as modern innovators like Chris Potter's Circuits Trio.The Dynamics of Leadership: She reflects on the transition from a versatile side player for luminaries like Christian McBride to a bandleader responsible for the logistical and sonic architecture of her own projects.Musical Tracks Featured"Jade" (from the album Onyx): A track Berliner identifies as the "closest relative" to her developing electric project."Zenith" (from the album Fantôme): A piece featuring a distinctive horn arrangement inspired by the collective energy of Stefon Harris's 90 Miles album.Sasha Berliner returns home this week for a double bill with vocalist Michael Mayo at SFJAZZ.The Ensemble: Berliner will lead a quintet featuring Myles Martin (drums), Julio Xavier Chetto (bass), Javier Santiago (piano/keys), and Tristan Cappel (sax/flute).Date: Saturday, December 27, 2025.Time: 7:30 PM.Venue: Miner Auditorium, San Francisco.Tickets: Available at SFJAZZ.org.Keeping Jazz Alive in the 415.

Episode Summary: In this episode of Backstage Bay Area, host Steve Roby sits down with vocalist and composer Michael Mayo to discuss his whirlwind year. Fresh off two Grammy nominations—Best Jazz Vocal Album for Fly and Best Jazz Performance for "Four"—Michael opens up about the surreal moment he got the news in Paris. We dive into his viral NPR Tiny Desk Concert, his philosophy on using looper pedals versus acoustic arrangements,and his deep musical lineage. Michael also previews his upcoming year-end show at SFJAZZ, part of the Terence Blanchard-curated "UpSwing" series.In This Episode:The Grammy Moment: Michael shares his reaction to receiving two nominations while soundchecking in Paris.NPR Tiny Desk: How he turned the audience into a choir and the importance of community in his performances.Song Breakdown - "Four": Reimagining a Miles Davis classic by adding "mischief" and a new rhythmic feel without changing the harmony.Song Breakdown - "Just Friends": Finding the universal heartbreak in a Great American Songbook standard.Tech vs. Tradition: How Michael balances his signature looper pedal techniques with a traditional jazz quartet setup.Musical Roots: Growing up with parents who worked with Earth, Wind & Fire and Diana Ross, and knowing from age three that music was his path.Featured Music:"Four" - Fly (Deluxe Edition)"Just Friends" - Fly (Deluxe Edition)Show Links & Tickets:Live at SFJAZZ: Michael Mayo & Sasha Berliner (UpSwing Double Bill)Date: Saturday, December 27, 2025Venue: Miner Auditorium, San FranciscoTickets: https://www.sfjazz.org/tickets/productions/25-26/upswing-sasha-berliner-michael-mayo/Connect with Michael Mayo:Website: michaelmayomusic.comInstagram: @themichaelmayoFacebook: Michael Mayo MusicYouTube: Michael Mayo

Episode Summary:Vibraphonist, composer, and educator Stefon Harris joins Backstage Bay Area before his November 29 double bill with trumpeter Theo Croker at SFJAZZ's Miner Auditorium. Harris discusses the spiritual roots of his sound, the ideas behind his new album Sonic Creed Volume Two: Life Signs, and why he believes harmony can be felt as vividly as rhythm. He also shares how his Harmony Cloud app is transforming the way musicians hear and respond to chords in real time.About Stefon Harris:Stefon Harris is a four-time Grammy-nominated jazz vibraphonist, bandleader, and educator. As a longtime leader of the band Blackout and a former member of the SFJAZZ Collective, he has recorded for Blue Note and Concord, collaborated with artists ranging from Herbie Hancock and Wayne Shorter to Dianne Reeves and Common, and teaches at Rutgers University–Newark. Harris is also the co-founder of the Melodic Progression Institute and the creator of the Harmony Cloud ear-training app.In This Episode:- Stefon's early experiences with music in the Black church and classical training- The concept and story behind Sonic Creed Volume Two: Life Signs- How the title track “Life Signs” grew out of creative limits and four-note cells- Writing “I Know, Love” as a musical memorial and exploring the emotional weight of chords- Why Harmony Cloud was designed as a “metronome for harmony” and how musicians are using it- Reflections on his years with the SFJAZZ Collective and the lessons learned there- What Bay Area jazz fans can expect from the UpSwing double bill with Theo CrokerMusic Featured in This Episode:- Stefon Harris & Blackout – “Life Signs”- Stefon Harris & Blackout – “I Know, Love”Show & Ticket Information:Stefon Harris & Blackout / Theo Croker – UpSwing at SFJAZZDate: Saturday, November 29, 2025Venue: Miner Auditorium, SFJAZZ Center (San Francisco)Showtime: 7:30 p.m.Tickets: https://www.sfjazz.org/tickets/productions/25-26/upswing-stefon-harris-theo-croker/Links & Resources:Stefon Harris official site: https://www.stefonharris.comDownload and explore Harmony Cloud (iOS app): https://www.stefonharris.com/harmony-cloudSFJAZZ: https://www.sfjazz.orgSupport & Follow Backstage Bay Area:Website, show archive, and concert reviews: https://www.backstagebayarea.comFollow and subscribe on your favorite podcast platform, and share this episode with a fellow jazz fan.

In this episode of Backstage Bay Area, host Steve Roby interviews Ben Folds, the pianist, songwriter, and arts advocate who has spent three decades balancing sharp, story-driven pop songs with orchestral ambition. Fresh off the release of Ben Folds Live with the National Symphony Orchestra and deep into his work on the new holiday album Sleigher, Folds discusses what it means to keep art alive in a noisy, distracted culture.The conversation shifts from his years at the Kennedy Center to the details of writing for orchestra, from the small dramas within songs like “Christine From The Seventh Grade” and “But Wait, There's More” to the quirky, reflective world of his upcoming Christmas shows at SFJAZZ. Along the way, Folds explores his long-standing Keys For Kids initiative and explains why access to instruments and music education still feels crucial to him.• How Ben Folds thinks about moving between rock clubs, concert halls, and orchestras without changing the core of his songwriting.• The story behind “Christine From The Seventh Grade” and why some songs invite a full orchestral treatment while others do not.• Why “But Wait, There's More” became a centerpiece about information overload, conspiracy thinking, and the carnival atmosphere of modern media.• What Folds learned during his tenure as Artistic Advisor to the National Symphony Orchestra and how that shaped his view of orchestration as storytelling.• How his Keys For Kids program puts instruments and lessons into the hands of young players, and why he sees creativity as a basic civic skill, not a luxury.• The ideas and scenes that shaped the Christmas album Sleigher, from collapsing inflatable Santas to the sense of Christmas as a personal time machine.• What to expect from his informal, story-rich holiday shows at SFJAZZ's Miner Auditorium with Lindsey Kraft, Ross Garren, and his touring band.• Ben Folds Live with the National Symphony Orchestra – new live album documenting two sold-out nights at the Kennedy Center.• “Christine From The Seventh Grade” – expanded from a studio track into a full orchestral narrative.• “But Wait, There's More” – from chamber piece to orchestral meditation on information overload.• Sleigher – Folds's offbeat, reflective Christmas album that anchors the SFJAZZ holiday shows.• Keys For Kids – his long-running initiative supporting access to instruments and music education.Ben Folds brings his holiday program to SFJAZZ's Miner Auditorium on Monday, December 8, and Tuesday, December 9, 2025.Both shows begin at 7:30 p.m. at Miner Auditorium in San Francisco.Tickets and full event details: https://www.sfjazz.org/tickets/productions/25-26/ben-folds/Ben Folds – official website: https://www.benfolds.comSFJAZZ event page: https://www.sfjazz.org/tickets/productions/25-26/ben-folds/Backstage Bay Area – more episodes and concert coverage: https://www.backstagebayarea.com

Show Description: In this episode of Backstage Bay Area, host Steve Roby interviews pianist and composer Edward Simon to discuss the trio Three Visitors, a deeply collaborative project with bassist Scott Colley and drummer Brian Blade. This trio consists of three composers writing for one another, built on a long history, shared language, and deliberate listening. We talk about how the group developed from their New York connections in the 1990s, how the new album on GroundUP Music was created with guests like Chris Potter and Becca Stevens, and what Bay Area audiences can expect when Three Visitors performs at the Joe Henderson Lab at SFJAZZ. What we cover in this episode:·      Edward's musical roots in Venezuela and his path through New York's jazz scene·      How he, Scott Colley, and Brian Blade discovered their “we-already-know-each-other” chemistry·      Why Three Visitors is a fully collaborative project, not “Edward Simon's trio”·      Writing music that invites conversation, space, and high-level improvisation·      Deep dive on the album track “You Are” — a meditation on human potential, with strings and Chris Potter·      How vocalist Becca Stevens reshaped “I Wanna Be With You” and why the trio welcomes guests·      What changes (and what doesn't) when they bring this music into an intimate room like the Joe Henderson Lab·      How the group keeps sets fluid so each show feels like a new “visit” About the album — Three VisitorsShow Description: In this episode of Backstage Bay Area, host Steve Roby interviews pianist and composer Edward Simon to discuss the trio Three Visitors, a deeply collaborative project with bassist Scott Colley and drummer Brian Blade. This trio consists of three composers writing for one another, built on a long history, shared language, and deliberate listening. We talk about how the group developed from their New York connections in the 1990s, how the new album on GroundUP Music was created with guests like Chris Potter and Becca Stevens, and what Bay Area audiences can expect when Three Visitors performs at the Joe Henderson Lab at SFJAZZ.Upcoming showThree Visitors: Edward Simon, Scott Colley & Brian BladeWhere: Joe Henderson Lab, SFJAZZ Center, San FranciscoWhen: Friday, November 21, 2025 — 7:00 p.m. & 8:30 p.m.; Saturday, November 22, 2025 — 7:00 p.m. & 8:30 p.m.Tickets: https://www.sfjazz.org/tickets/productions/25-26/edward-simon-three-visitors/ Listen / Buy the album:GroundUP Music store: https://store.groundupmusic.net/products/three-visitors-cdBandcamp: https://threevisitors.bandcamp.com/album/three-visitors

Episode summaryMusic Director and saxophonist Chris Potter joins Backstage Bay Area to preview the SFJAZZ Collective's tribute to Wayne Shorter's Native Dancer. We talk about why this album matters, how the Collective reimagined its songs for today's band, Potter's personal encounter with Shorter, and what new music is on deck.What you'll hear• Why Native Dancer remains a living blueprint for jazz–Brazilian exchange• How the Collective divided up arrangements and found fresh angles on classics like “Ponta de Areia”• A rehearsal-room story that captures Shorter's mix of imagination and precision• What to expect across the three Miner Auditorium shows (setlist variety, originals, and ensemble chemistry)• Potter's upcoming projects and where the Collective heads nextGuestChris Potter — saxophonist, composer, and Music Director of the SFJAZZ Collective.Selected quotes• “The SFJAZZ Collective comes together every year to workshop new music, and this season we wanted to make a real statement with Native Dancer.”• “We each brought in arrangements. The original album is so perfectly realized that the challenge was to find our own way through it.”• “Wayne could ask you to imagine Superman flying over the mountain—and in the next breath correct a single B-flat. That balance guided us.”• “The feeling on stage is, ‘This is a band.' Mutual respect, shared history, and material we truly love.”About the music• Wayne Shorter's 1975 collaboration with Milton Nascimento braided Brazilian songcraft with jazz harmony and studio-era rhythm—music built for reinvention.• The Collective's program features the full Native Dancer songbook alongside new originals that extend its spirit.CreditsHost/Producer: Steve Roby — Backstage Bay AreaGuest: Chris PotterMusic: Excerpts as permitted by rights holdersRecording: SFJAZZ Collective sessions & interviewLinks & ticketsEvent: SFJAZZ Collective — Tribute to Wayne Shorter's Native DancerVenue: Miner Auditorium (SFJAZZ Center, San Francisco)Dates/Times:• Saturday, Nov. 1 – 7:30 p.m.• Sunday, Nov. 2 – 3:00 p.m.• Sunday, Nov. 2 – 7:00 p.m.Tickets: https://www.sfjazz.org/tickets/productions/25-26/sfjazz-collective/More info: SFJAZZ.org

Canadian vocalist-composer Caity Gyorgy joins Steve for a conversation about craft, collaboration, and why swing still feels newly minted when the writing is sharp and the band listens hard. Known for quicksilver phrasing and original tunes that travel between club intimacy and orchestral sheen, Gyorgy traces the path from early influences to her new string-driven project and previews her San Francisco debut at the Joe Henderson Lab.What you'll hear• How Caity discovered jazz and shaped her sound through singers like Ella Fitzgerald, Abbey Lincoln, Blossom Dearie, Betty Carter, and June Christy.• Inside Caity Gyorgy with Strings: writing with pianist-arranger Mark Limacher, assembling an all-Canadian orchestra, and channeling arranging touchstones (Don Costa, Nelson Riddle, Gordon Jenkins, Henry Mancini).• Song stories: “That Doesn't Matter” (a cheeky portrait of friendship and creative trust) and “You'll Learn” (a cinematic, voice-memo-to-lyric journey).• What Bay Area audiences can expect at the Joe Henderson Lab: standards from Loesser, Styne, Porter, and Kern alongside Gyorgy's originals, charted with wit and swing.Band for the Joe Henderson LabCaity Gyorgy — vocalsMark Limacher — pianoThomas Heinbach — bassAroma Jr. — drumsAbout the guestA three-time JUNO winner (pronounced “George”), Caity Gyorgy writes and sings with a composer's clarity and a bebop musician's reflexes. Recent releases include the orchestral album Caity Gyorgy with Strings and duo projects with Mark Limacher that showcase her ear for melody and narrative.CreditsHost & production: Steve Roby / Backstage Bay AreaEditing & mix: Backstage Bay AreaMusic excerpts: courtesy of the artist---Show Info & LinksEvent: Caity Gyorgy — Joe Henderson Lab (SFJAZZ Center), San FranciscoDates: Nov 7–9, 2025Set times: Two sets Friday (7:00 PM & 8:30 PM); additional performances across the weekend—see event page for current times and availability.Tickets & info: SFJAZZ event pageArtist website: CaityGyorgy.com

Episode SummaryHector Flores of Las Cafeteras joins Steve to talk about Hasta La Muerte, the group's Day of the Dead production arriving at SFJAZZ. He traces the band's East L.A. activist roots, how son jarocho meets hip-hop and spoken word, and why participation—dancing, singing, dressing up—turns a concert into a communal ritual. Hector shares how Cocosparked a new wave of writing, why La Catrina becomes “La Santa de los Muertos,” and how a reimagined La Llorona story reframes grief as love.Hector Flores — vocalist, writer/poet, co-founder of Las Cafeteras (East L.A.). Community organizer turned bandleader; bridges traditional son jarocho with hip-hop cadence, dance, and poetry.Activist beginnings in East L.A. and how a collective became a bandThe sonic palette: jarana, requinto, leona, Afro-Colombian percussion, Indigenous drums, and tasteful electronicsWriting from lived experience: poems that become songs and stage narrativesHasta La Muerte onstage: five dancers, four musicians, vivid visuals, and storytelling through music and movementReimagining icons: La Catrina as La Santa de los Muertos; a compassionate retelling of La LloronaWhy audience participation matters: “come in costume,” sing, and dance—treat the hall like a plazaLimited-run vinyl at the merch table (cast and crew-signed)What's next for the production beyond the West CoastHasta La Muerte — Las CafeterasDate: Friday, October 31Venue: Miner Auditorium, SFJAZZ Center, 201 Franklin St., San FranciscoShowtime: 7:30 PM PT • Tickets via SFJAZZ. sfjazz.orgLas Cafeteras (official): https://lascafeteras.comHasta La Muerte (about): https://lascafeteras.com/hasta-la-muerteLas Cafeteras on Instagram: https://instagram.com/lascafeterasTickets (SFJAZZ): https://www.sfjazz.org/tickets/productions/25-26/las-cafeteras-hasta-la-muerte/ sfjazz.orgBackstage Bay Area: https://www.backstagebayarea.com“Hasta la Muerte” (official performance clip) — embed or link from Las Cafeteras' channel“Esta Noche” — sample the group's energy and instrumentationHost & Producer: Steve Roby — Backstage Bay AreaGuest: Hector Flores (Las Cafeteras)Editing/Mix: Backstage Bay AreaMusic used with permission of the artist.If you enjoyed this episode, follow and rate Backstage Bay Area on Apple Podcasts, Spotify, and YouTube. Share the episode and tag @lascafeteras and @sfjazz to spread the word.#LasCafeteras #HastaLaMuerte #DiaDeLosMuertos #SFJAZZ #BackstageBayArea #BayAreaMusic #SonJarocho #EastLA

Backstage Bay Area – Episode with Amaro FreitasGuest: Amaro Freitas, acclaimed Brazilian jazz pianist and composerHost: Steve RobyEpisode Highlights:Introduction to Amaro Freitas, his Afro-Brazilian roots, and his unique approach to jazz piano.Amaro discusses his musical beginnings in Brazil, learning piano in church, and the influence of family and local musicians.Deep dive into Amaro's rhythmic style, blending African, Brazilian, and jazz traditions.Influences: Amaro shares how Chick Corea and other jazz legends shaped his sound and creative process.Stories from Amaro's career, including memorable performances and personal encounters with Chick Corea.Discussion of Amaro's latest album, "Y'Y," inspired by the Amazon, nature, ancestry, and the power of water.Exploration of the track "Encantados," its roots in Afro-Indigenous legends, and the spiritual connection between music, nature, and humanity.Amaro's approach to live performance, improvisation, and adapting his set for intimate venues like the Joe Henderson Lab at SF Jazz Center.Preview of upcoming shows in San Francisco, including details on setlists, improvisation, and audience interaction.Featured Tracks:"Y'Y" (title track)"Encantados"Upcoming Events:Amaro Freitas performing solo at the Joe Henderson Lab, SF Jazz Center, San Francisco.Four shows: Friday, October 24th & Saturday, October 25th, 7:00 PM and 8:30 PM.Tickets and info: sfjazz.orgLinks:Amaro Freitas Official WebsiteSF Jazz Center TicketsConnect:Follow Backstage Bay Area for more artist interviews and behind-the-scenes stories.Share the episode and join us at SFJAZZ

In this episode, host Steve Roby sits down with saxophonist and composer Nicole McCabe, co-leader of the genre-blending project Dolphin Hyperspace. Nicole shares her journey from growing up in Marin County, where she was inspired by both jazz and electronic music, to collaborating with bassist/producer Logan Kane. The conversation covers her musical influences (from Cannonball Adderley to Skrillex), the creative process behind Dolphin Hyperspace, and the stories behind tracks like "Minuscule Minnow" and "Mini Giraffe."Nicole also discusses her upcoming acoustic solo album "Color Theory" (produced by Jason Moran), the next Dolphin Hyperspace record "Echo Location," and her approach to live performance—especially in intimate venues like the Joe Henderson Lab at SFJAZZ.Featured topics:Blending jazz improvisation with electronic productionThe origins and evolution of Dolphin HyperspaceThe influence of Brazilian music and artists like Tom JobimLive performance dynamics and audience engagementUpcoming releases and collaborationsRelevant Links:Nicole McCabe's website: nicolemccabemusic.comDolphin Hyperspace on Bandcamp: Bandcamp (search "Dolphin Hyperspace" for direct link)SFJAZZ tickets: sfjazz.orgNicole's music on streaming platforms: Available on all major servicesFollow Nicole on Instagram: (Check her website for the latest social links)Upcoming Show:Dolphin Hyperspace at the Joe Henderson Lab, SFJAZZ CenterFriday, October 17th — Shows at 7:00 PM & 8:30 PMTickets: sfjazz.orgThanks for listening to Backstage Bay Area!

SummaryTrumpeter Anthony Hervey and pianist Sean Mason unpack the soul-and-blues core behind their duo chemistry—why a Monk program belongs in an intimate room, how Hervey's “Du-Rag” reframes ragtime language for now, and why Mason's “Open Your Heart” asks players and listeners to lead with emotion. We talk repertoire choices for the Joe Henderson Lab, the living-room vibe they aim for, and how spontaneity shapes their sets.Anthony Hervey — official site: anthonyherveymusic.com. ANTHONY HERVEYAlbum — Words From My Horn (includes “Du-Rag”): Outside In Music / Bandcamp. Outside in MusicSean Mason — official site: seanmasonofficial.com. The Sean Mason StoreAlbum — The Southern Suite (Blue Engine Records): album page. Jazz at Lincoln Center+1Single — “Open Your Heart” (official studio video): YouTube. YouTubeAnthony Hervey & Sean Mason — Joe Henderson Lab, SFJAZZ (Monk & Originals): tickets/info at SFJAZZ.org. sfjazz.orgThe duo's “living-room” approach at the Joe Henderson LabThe roots of “Du-Rag”: ragtime strains, gospel color, and Hervey/Mason's dialogueWhy “Open Your Heart” pivots from ballad glow to spontaneous double-timeSet-to-set variety, audience conversation, and letting the music choose the pathWebsite & archives: BackstageBayArea.com. Backstage Bay AreaYouTube channel (full episodes & clips): @BackstageBayArea. YouTubeHost/Producer: Steven Roby (Backstage Bay Area)Music featured with permission of the artists and labels.#BackstageBayArea #AnthonyHervey #SeanMason #SFJAZZ #JoeHendersonLab #TheloniousMonk #WordsFromMyHorn #TheSouthernSuite #JazzPodcastPhoto credit: EBAR

Episode summaryGRAMMY-nominated songwriter, multi-instrumentalist, and producer Becca Stevens joins us to explore the craft of writing and arranging for intimate settings, how open tunings and guitar shapes influence her harmony, and the emotional core behind Maple to Paper — a voice-and-guitar project that values vulnerability, presence, and truth. She also speaks openly about motherhood on the road and the real-world adjustments venues and presenters can make to better support touring parents. What we cover·      Early influences spanning folk, jazz, and chamber music—and how those genres converge in her songs.·      Why open tunings invite fresh harmonic colors and lyric–melody interplay.·      Arranging for duo/small ensemble: leaving space, shaping counter-melodies, and pacing dynamics.·      Motherhood on tour: barriers artists face and practical changes the industry can implement now.·      What listeners can expect from these intimate performances: storytelling, reimagined favorites, and new material. Music in this episode·      “Now Feels Bigger Than The Past”  from the album Maple to Paper (GroundUP Music, 2024)·      “I'm Not Her” from the album Maple to Paper (GroundUP Music, 2024) Links• Artist website:https://beccastevens.com Show details (Bay Area)• Event: Becca Stevens• Where: Joe Henderson Lab at SFJAZZ Center• When: October 14–15 (four shows, two nightly)• Showtimes: 7:00 p.m. & 8:30 p.m.• Tickets:https://www.sfjazz.org/ CreditsHosted and produced by Steve Roby for Backstage Bay Area.Audio clips used with artist/label permission. Tags/SEOBecca Stevens, Maple to Paper, jazz folk, open tunings, Joe Henderson Lab, SFJAZZ, touring mothers, songwriter interview.

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Episode summaryViolinist–vocalist Yilian Cañizares joins Backstage Bay Area to talk about the musical DNA that powers her work—classical discipline, Afro-Cuban tradition, and the open-ended spirit of jazz. She reflects on the new single “Ore,” the cross-Atlantic pulse of “Habana-Bahia,” and the next chapters: a fall EP and her full-length album Vitamina Y. Along the way, Yilian opens up about freedom, ritual, collaboration, and how she wants audiences to feel when the trio takes the stage.GuestYilian Cañizares is a Havana-born, Switzerland-based artist known for fusing conservatory-level violin with Afro-diasporic rhythm and improvisation. A Montreux Jazz Festival awardee, she tours internationally with a trio featuring Childo Thomas (bass) and Inor Sotolongo (percussion).Highlights (no timestamps)The meaning of “freedom” in her music: composing, improvising, and singing from an honest place.The backstory of “Ore”: a gift from childhood friend Yasser “El Gozo” that reconnects her to Cuban roots and the diaspora.Crafting “Habana-Bahia” in Salvador, Brazil: sisterhood, women's empowerment, and the Cuba–Bahia link through Africa.Why the trio format (violin/voice, bass, percussion) is the perfect vehicle for spontaneity and audience connection.Vitamina Y: the “vitamin people” who nourish her life and the album's goal to uplift listeners.The rollout plan: “Vamos Florescer!” and more singles leading to the full album release.What to expect live at SFJAZZ's Joe Henderson Lab: intimate room, evolving setlists, and early previews of new material.Music referenced in this episode (with permission)“Ore” (single)“Habana-Bahia” (title track from the 2023 project)“Vamos Florescer!” (from the forthcoming Vitamina Y rollout)Quotes “Jazz, for me, is freedom—the freedom to express how I feel in the moment and to share my vision of the world.”“Every song has to come from a place of honesty, where people can know my heart a little better.”“We want to deliver something unique every time we play.”LinksArtist website: yiliancanizares.comTickets: SFJAZZ.org → Joe Henderson Lab, Yilian Cañizares (Sept 25–26; 7:00 & 8:30 p.m.)Backstage Bay Area: BackstageBayArea.comCreditsHost & producer: Steven RobyAudio editing & post: Backstage Bay AreaArtwork/Photography: Frank SochaHashtags#YilianCañizares #VitaminaY #BackstageBayArea #AfroCubanJazz #JazzViolin #SFJAZZ #JoeHendersonLab #HabanaBahia #Ore #BayAreaMusicCall to actionIf you enjoyed this conversation, follow Backstage Bay Area on your favorite podcast platform and leave a rating or short review—it helps more listeners discover the show.

Show Notes:On this episode of the Backstage Bay Area Podcast, host Steve Roby sits down with the legendary Paquito D'Rivera—multi-Grammy-winning saxophonist, clarinetist, and composer—for a lively conversation that bridges continents, genres, and generations.Paquito shares the inspiration behind his acclaimed album, Jazz Meets the Classics, revealing how his father's classical roots and his own love for improvisation shaped a project that reimagines European and New World composers through a jazz lens. Hear how Chopin's "Fantasia Impromptu" gets a Cuban and Brazilian twist, and why Bach might just be the original bebopper.The episode features insights into the creative process, the art of improvisation, and the unique chemistry of Paquito's quintet—featuring Diego Urcola (trumpet), Oscar Stagnaro (bass), Mark Walker (drums), and Alex Brown (piano). Paquito also previews his upcoming performances at the SFJAZZ Center's Miner Auditorium, promising two nights of surprises, spontaneity, and musical magic.Links & Resources:Tickets for Paquito D'Rivera at SFJAZZ: sfjazz.orgPaquito D'Rivera's official website: paquitodrivera.comMore about the album: Jazz Meets the ClassicsDon't miss:The story behind "Fantasia Impromptu" and its journey from Chopin to HavanaWhy every live jazz show is a new adventureWhat makes performing in the Bay Area special for PaquitoSubscribe, share, and join us backstage for a masterclass in musical fusion!Photo by: Geandy Pabon

Show Notes:In this episode of Backstage Bay Area, host Steve Roby sits down with acclaimed alto saxophonist Sarah Hanahan. Sarah shares her musical upbringing, the influence of jazz legends, and the story behind her debut album, "Among Giants." The conversation explores her approach to honoring jazz tradition, building stamina as a performer, and the creative process behind her original compositions.You'll also hear about Sarah's upcoming performances at the Joe Henderson Lab at SFJAZZ, her dynamic quartet, and what audiences can expect from her live shows. The episode features tracks from "Among Giants," including “Resonance” and “Stardust,” and offers a behind-the-scenes look at Sarah's passion for music and history.Links Mentioned:Tickets & info for Sarah Hanahan at SFJAZZ: https://www.sfjazz.orgLearn more about Sarah Hanahan and her music: https://www.sarahhan.comSubscribe to Backstage Bay Area for more exclusive interviews and insights from the vibrant music scene!

Show NotesBackstage Bay Area welcomes Montreal-based, award-winning singer-songwriter Dominique Fils-Aimé. In this episode, Dominique shares her creative journey, the healing power of music, and the inspiration behind her latest works, including her new single "Keep On Shining" and her first live album, Live at the Montreal International Jazz Festival.Host Steve Roby and Dominique discuss:Her unique approach to jazz and improvisationThe influence of artists like Nina Simone, Billie Holiday, and Lauryn HillThe meditative process of songwriting and the importance of freedom in musicThe story behind "Keep On Shining" and its collaboration with Jaron MarshallInsights from recording a live album and the magic of performing for an audienceThe meaning behind her album Our Roots Run Deep and its connection to nature and communityWhat to expect at her upcoming shows at SFJAZZ's Joe Henderson Lab, including her dynamic band and the improvisational spirit of her performancesUpcoming Shows:Dominique Fils-Aimé performs at SFJAZZ's Joe Henderson Lab, September 18th & 19th, with two shows nightly at 7:00 PM and 8:30 PM.

Show NotesOn this episode of Backstage Bay Area, host Steve Roby chats with Jacob Swedlow, drummer and band leader of Sacramento's jazz fusion group, LabRats. Jacob shares the story of how the band formed, their improvisational origins, and how the Sacramento music scene has influenced their sound. The conversation explores the creative process behind tracks like “Jeff Costello Shot a Man” and “Loading Screen,” and discusses how the band combines hip-hop, jazz, and experimental styles.Jacob also discusses the group's upcoming performances at the SF Jazz Center's Joe Henderson Lab, where Lab Rats will pay tribute to Herbie Hancock's legendary Mwandishi era, blending in their own unique style and improvisational energy. Learn how the intimate setting of the Joe Henderson Lab influences the band's dynamics, and why every show promises to be a one-of-a-kind experience.Get Your Tickets:LabRats perform at the SF Jazz Center, Joe Henderson Lab, on Friday, September 12th, with shows at 7:00 PM and 8:30 PM.

Episode SummaryPianist Eric Lewis (ELEW) joins Backstage Bay Area to trace a path from a five-piano childhood in Camden, New Jersey, to the creation of Rockjazz, a career-shaping stint with {{Elvin Jones}}, and his latest project, ELEW Plays Sting. We explore how he translates songs like “Message in a Bottle” and “Walking on the Moon” for solo piano, why Sting's writing resonates with him, and what to expect from his upcoming shows at the Joe Henderson Lab at SFJAZZ.Origin story: a four-generation musical family, conservatory training, and early mentorsLessons from the bandstand with Elvin Jones, plus touring with jazz greatsRockjazz: shaping a solo-piano language with rock energy and jazz rigorWhy Sting: the harmonic/melodic DNA of the Police songbook and beyondInside the album: “piano portraiture,” left-hand counterpoint, and arranging approachesPreviewing ELEW Plays Sting live at SFJAZZ (dates below)“I am the fourth generation of classical musicians in my family.”“After winning the Monk Competition, I was not considered record label material—then Elvin called.”“It was like father and son with Elvin—absolute nectar.”“Rockjazz is mostly rock and some jazz. It is about energy—and precision.”“I think of these as piano portraits—keeping the contour and harmony while changing the canvas.”“Message in a Bottle” (The Police) — ELEW solo piano arrangement“Walking on the Moon” (The Police) — with guest alto saxophonist Immanuel Wilkins on the albumEric Lewis (ELEW) is a pianist and composer whose career spans touring with {{Wynton Marsalis}} and performing with Elvin Jones to developing Rockjazz, a high-voltage solo-piano approach that bridges rock and jazz. His new project, ELEW Plays Sting, reimagines Sting's catalog for solo piano (with select guests).ELEW — ELEW Plays StingJoe Henderson Lab (SFJAZZ), San FranciscoSaturday, Sept. 13, 2025 — 7:00 p.m. & 8:30 p.m.Sunday, Sept. 14, 2025 — 6:00 p.m. & 7:30 p.m.Tickets: Visit SFJAZZ.org and search “ELEW Plays Sting.”Host/Producer: Steven Roby — Backstage Bay AreaEditing & Post: Backstage Bay Area teamBackstage Bay Area: www.backstagebayarea.comSFJAZZ: www.sfjazz.orgFollow ELEW on social media and streaming platforms

Guest: Anthony Wilson — guitarist, composer, bandleaderEpisode focus: Anthony's new live double LP House of the Singing Blossoms (recorded at Sam First), the return of his nonet, and his upcoming SFJAZZ shows (Sept. 4–5; two shows nightly) in the Joe Henderson Lab.Episode SummaryGuitarist–composer Anthony Wilson joins host Steve Roby to talk about reviving the nine-piece band that shaped his early voice and powers his new live album, House of the Singing Blossoms. Wilson digs into arranging for nonet, capturing the energy of a listening room on record, and why the album was designed for the deep, side-by-side experience of vinyl. He also previews the SFJAZZ dates, the evolving lineup, and how this music balances songful melody with fearless improvisation.Why ListenHear why the nonet remains the ideal canvas for Wilson's writing and guitar voice.Get an inside look at recording live at Sam First and mastering with Bernie Grundman.Learn how sequencing for vinyl shaped the album's narrative flow.Preview the SFJAZZ shows and how the book will evolve on stage.Enjoy featured tracks that frame the conversation: “House of the Singing Blossoms,” “Triple Chase,” and “Bordertown.”Key Quotes (from Anthony Wilson)“The first band that I recorded with was a nine-piece band… I found that configuration compelling.”“I have always loved just how rich a palette, sonically, it can be to have those horns.”“In a club with an audience, you're feeding off each other's energy… You can just concentrate on the good feeling of being together.”“You pick that album up, put it on your turntable… side after side you have these 20-minute periods where you can become engrossed in the music.”“Out of the gate, it shows that what this band is about… is a commitment to serious improvising and serious playing.”Conversation HighlightsThe nonet returns: How the ensemble's color and agility unlock his arranging ideas—and where the guitar fits inside nine voices.Recording the room: Capturing two nights at Sam First to preserve interplay, momentum, and audience energy.Vinyl by design: Double 180-gram LPs, gatefold artwork, and a sequence that feels like stepping into the club.Legacy & lineage: Opening with “Triple Chase” by Gerald Wilson, nods to Joe Zawinul and Keith Jarrett, and a fresh take on Bennie Wallace's “Bordertown.”SFJAZZ preview: A hybrid roster of veterans and rising players, new pieces in progress, and early nonet charts revisited with fresh ears.Music Featured in This Episode“House of the Singing Blossoms” (excerpt) — from House of the Singing Blossoms“Triple Chase” (Gerald Wilson) — from House of the Singing Blossoms“Bordertown” (Bennie Wallace) — from House of the Singing BlossomsPersonnel — Sam First RecordingAnthony Wilson (guitar), CJ Camerieri (trumpet/French horn), Alan Ferber (trombone), Nicole McCabe (alto sax), Bob Reynolds (tenor sax), Henry Solomon (baritone sax), Gerald Clayton (piano), Anna Butterss (bass), Mark Ferber (drums).Upcoming ShowsSFJAZZ — Joe Henderson LabDates: September 4–5 (two shows nightly)What to expect: Song-forward writing, expansive solos, and the punch and glow of a nine-piece band in an intimate room.CreditsHost/Producer: Steve Roby, Backstage Bay AreaGuest: Anthony WilsonEditing/Mix: Backstage Bay AreaMusic: Excerpts courtesy of Anthony WilsonConnectFollow Backstage Bay Area on your favorite podcast app.Share the episode with a friend and leave a rating/review to help others discover the show.For more on Anthony Wilson and House of the Singing Blossoms, visit the artist's official channels and SFJAZZ's calendar for tickets and details.

This week, with big developments in two antitrust cases against Google, we discuss how the company may be forced to change its business. Then we're joined by the journalist Mark Yarm to discuss his recent visit to an underwater home for his article about techno-utopians who want to colonize the ocean. And finally, it's tool time! We'll tell you about our latest experiments with ChatGPT's o3, Casey's newest journaling practice and Kevin's continued battle to get to inbox zero.Tickets to Hard Fork live are on sale! See us June 24 at SFJAZZ.Guest:Mark Yarm, an executive editor at PCMag and the author of “Everybody Loves Our Town: An Oral History of Grunge.”Additional Reading:Google May Be on the Brink of a BreakupGoogle Is Illegally Monopolizing Online Advertising Tech, Judge RulesThe Techno-Utopians Who Want to Colonize the Sea We want to hear from you. Email us at hardfork@nytimes.com. Find “Hard Fork” on YouTube and TikTok. Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify.

This week Meta is on trial, in a landmark case over whether it illegally snuffed out competition when it acquired Instagram and WhatsApp. We discuss some of the most surprising revelations from old email messages made public as evidence in the case, and explain why we think the F.T.C.'s argument has gotten weaker in the years since the lawsuit was filed. Then we hear from Princeton computer scientist Arvind Narayanan on why he believes it will take decades, not years, for A.I. to transform society in the ways the big A.I. labs predict. And finally, what do dolphins, Katy Perry and A1 steak sauce have in common? They're all important characters in our latest round of HatGPT. Tickets to Hard Fork live are on sale now! See us June 24 at SFJAZZ. Guest:Arvind Narayanan, director of the Center for Information Technology at Princeton and co-author of “AI Snake Oil: What Artificial Intelligence Can Do, What it Can't, and How to Tell the Difference.” Additional Reading:What if Mark Zuckerberg Had Not Bought Instagram and WhatsApp?AI as Normal TechnologyOne Giant Stunt for Womankind We want to hear from you. Email us at hardfork@nytimes.com. Find “Hard Fork” on YouTube and TikTok. Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify.

Dani Offline joins us in the studio for a live musical performance. Fresh off of two sold-out shows at SFJAZZ as part of the Noise Pop festival, the Oakland-based R&B singer is celebrating the release of her new single, “Desire.” We talk with her about the freedom of being a self-produced musician and how studying literary criticism at UC Berkeley inspired her upcoming album. Guest: Dani Offline, songwriter and music producer

In the second part of our conversation with 2024 NEA Jazz Master trumpeter and composer Terence Blanchard, we explore the emotional and creative depths of his work, from his jazz innovations to his evolution as an opera composer.Blanchard shares the challenges of scoring the documentary When the Levees Broke and discusses how his Grammy-winning album A Tale of God's Will emerged from those themes, evolving into a deeply personal statement on loss and resilience. From jazz to film and opera, he examines how his musical voice has expanded across genres, culminating in his historic operas Champion and Fire Shut Up in My Bones—the first opera by an African American to be produced at the Metropolitan Opera. He also discusses his role in bringing the Monk Institute  (now the Herbie Hancock Institute) to New Orleans after Katrina and his ongoing dedication as an educator and mentor to young musicians.He discusses his then-new role as Artistic Director of SFJAZZ, where he provides opportunities for mid-career as well as emerging musicians and brings innovative programming to audiences. As he reflects on receiving the NEA Jazz Master honor, Blanchard considers the legacy of those who came before him and the responsibility of carrying the music forward.

In the second part of our conversation with 2024 NEA Jazz Master trumpeter and composer Terence Blanchard, we explore the emotional and creative depths of his work, from his jazz innovations to his evolution as an opera composer.Blanchard shares the challenges of scoring the documentary When the Levees Broke and discusses how his Grammy-winning album A Tale of God's Will emerged from those themes, evolving into a deeply personal statement on loss and resilience. From jazz to film and opera, he examines how his musical voice has expanded across genres, culminating in his historic operas Champion and Fire Shut Up in My Bones—the first opera by an African American to be produced at the Metropolitan Opera. He also discusses his role in bringing the Monk Institute  (now the Herbie Hancock Institute) to New Orleans after Katrina and his ongoing dedication as an educator and mentor to young musicians.He discusses his then-new role as Artistic Director of SFJAZZ, where he provides opportunities for mid-career as well as emerging musicians and brings innovative programming to audiences. As he reflects on receiving the NEA Jazz Master honor, Blanchard considers the legacy of those who came before him and the responsibility of carrying the music forward.

In part one of this two-part interview, trumpeter, composer, and 2024 NEA Jazz Master Terence Blanchard speaks about his deep musical roots in New Orleans and how the city's rich traditions shaped his artistry. He reflects on growing up in a household filled with music, his early piano lessons, and the pivotal moment when he switched to trumpet after hearing Alvin Alcorn. Blanchard discusses the educators who had a lasting impact on him, including Roger Dickerson and Ellis Marsalis, and his formative experiences at the New Orleans Center for Creative Arts and Rutgers University. He also shares stories of touring with Lionel Hampton as a teenager, learning the ropes of the jazz world, and his time with Art Blakey's Jazz Messengers, where he honed his skills as a composer and bandleader. Blanchard also talks about forming a quintet with Donald Harrison and their commitment to innovation, as well as launching his solo career in the early '90s. He describes his unexpected entry into film composition, starting with Mo' Better Blues, and how that led to a decades-long collaboration with Spike Lee. Blanchard reflects on the challenges and rewards of storytelling through music. Stay tuned for part two of my conversation with Terence Blanchard, where he discusses his work in opera, his ongoing exploration of sound with his current band, taking on the role of  artistic director of SFJAZZ, and his role as an educator mentoring the next generation of musicians. 

In part one of this two-part interview, trumpeter, composer, and 2024 NEA Jazz Master Terence Blanchard speaks about his deep musical roots in New Orleans and how the city's rich traditions shaped his artistry. He reflects on growing up in a household filled with music, his early piano lessons, and the pivotal moment when he switched to trumpet after hearing Alvin Alcorn. Blanchard discusses the educators who had a lasting impact on him, including Roger Dickerson and Ellis Marsalis, and his formative experiences at the New Orleans Center for Creative Arts and Rutgers University. He also shares stories of touring with Lionel Hampton as a teenager, learning the ropes of the jazz world, and his time with Art Blakey's Jazz Messengers, where he honed his skills as a composer and bandleader. Blanchard also talks about forming a quintet with Donald Harrison and their commitment to innovation, as well as launching his solo career in the early '90s. He describes his unexpected entry into film composition, starting with Mo' Better Blues, and how that led to a decades-long collaboration with Spike Lee. Blanchard reflects on the challenges and rewards of storytelling through music. Stay tuned for part two of my conversation with Terence Blanchard, where he discusses his work in opera, his ongoing exploration of sound with his current band, taking on the role of  artistic director of SFJAZZ, and his role as an educator mentoring the next generation of musicians. 

Episode Description: In this episode of Backstage Sonoma, host Steven Roby sits down with Jimmie Herrod, the sensational vocalist celebrated for his breathtaking performances and unique artistry. Known for his work with Pink Martini and his memorable run on America's Got Talent, Jimmie shares personal insights into his journey as a musician, his creative process, and the transformative power of jazz. Listeners will get an exclusive glimpse into Jimmie's upcoming projects, including his highly anticipated show at SFJAZZ, and his reflections on authenticity in music. From poignant anecdotes to his advice for aspiring artists, this episode delivers inspiration and a deeper appreciation for the world of contemporary jazz. Guest Information: Jimmie HerrodJimmie Herrod is a powerhouse vocalist and songwriter blending jazz, pop, and soul into a truly mesmerizing sound. Rising to fame as a finalist on America's Got Talent, he is also a longtime member of the global music ensemble Pink Martini. With his theatrical presence and unparalleled vocal range, Jimmie continues to captivate audiences worldwide. Official Website Instagram Facebook Don't miss Jimmie Herrod live!Catch him performing at SFJAZZ. Get your tickets here: SFJAZZ Tickets Call-To-Action: Love what you hear? Be sure to subscribe to Backstage Sonoma on YouTube and Apple Podcasts for exclusive interviews with today's most exciting musicians. Don't forget to rate, review, and share the podcast with your fellow music lovers! Episode Takeaways: How Jimmie Herrod draws from life experiences to create music that resonates. The importance of embracing authenticity as an artist. Behind-the-scenes stories about working with Pink Martini and competing on America's Got Talent. Insights into his upcoming SFJAZZ performance. Hashtags: #JimmieHerrod #BackstageSonoma #JazzMusic #PinkMartini #SFJAZZ #AmericasGotTalent #LiveMusic #PodcastInterview

Show Notes: In this inspiring episode of Backstage Sonoma, host Steven Roby welcomes jazz and blues vocalist Marina Crouse for an intimate conversation about her musical journey, her passion for honoring jazz greats like Ernestine Anderson, and how she connects with audiences through her soulful performances. Marina shares her thoughts on preserving jazz traditions while adding her unique voice to the genre. Guest Information:Marina CrouseA captivating jazz and blues vocalist, Marina Crouse is known for her rich tone, heartfelt delivery, and passion for the timeless artistry of the jazz greats. Whether interpreting classics or exploring new musical territory, Marina's voice leaves a lasting impression on her audiences. Website: marinacrouse.com Instagram: @marinacrousemusic Catch Marina live at SFJAZZ as she celebrates Ernestine Anderson's music: ⁠Tickets are here. Episode Takeaways: Marina's reflections on the legacy of jazz greats and their influence on her career. The importance of connecting with audiences through authentic storytelling in music. How Marina bridges the gap between jazz tradition and modern interpretation. Highlights from her upcoming show at SFJAZZ and the inspiration behind the performance. Call-To-Action:Enjoy the conversation? Don't forget to subscribe to Backstage Sonoma on your favorite podcast platform for more behind-the-scenes stories from the music world. Leave us a review—it helps more music lovers find the show!   Hashtags:#BackstageSonoma #MarinaCrouse #JazzVocalist #JazzLegends #SFJAZZ #LiveMusic #MusicPodcast #JazzTradition

Great episode of the Hot Jazz Network Podcast with host George Cole taking time to converse with Kurt Ribak and learning a lot about him and his musical universe.ABOUT KURT RIBAK:Kurt describes his music as “Charles Mingus meets The Meters. They go to Duke Ellington's house to jam, and Cachao and Thelonious Monk sit in.” Kurt has three albums as the Kurt Ribak Trio, and two more as Kurt Ribak. The albums feature his own compositions, which are original yet accessible. Kurt grew up singing and playing classical music. He began playing jazz while attending UC Berkeley. After a battle with tendinitis, Kurt won scholarships to Berklee College of Music. He graduated with top honors and spent many hours mastering the styles of bassists Paul Chambers, Ray Brown, and Charles Mingus and discovering his love of composition and songwriting. Kurt has shared the stage with circus performers, preachers and fire-breathing strippers, but never all three at once. He has performed in venues ranging from SFJAZZ and Yoshi's to a club where someone surreptitiously stashed a loaded .45 in his bass bag while Kurt was playing .In June 2012 Kurt was in an auto accident, seriously injuring his left hand and forearm. Thirteen operations and six years later he resumed playing full-time, much to the surprise of many surgeons. Kurt notes, “When I was hurt I learned how many people loved me, cared about me. That really helped me get back to playing."Kurt's recordings are played on KCSM-FM, KPFA, KZFR, KKUP, San Diego's Jazz 88, PRI and other jazz stations. His band has sold out Yoshi's and SFJAZZ. They have also performed at Freight & Salvage Coffeehouse, San Francisco Jazz Festival, San Jose Jazz Festival, Nor-Cal Jazz Festival, Fillmore Street Jazz Festival, and Blue Note Napa. LINKS:Website http://www.ribak.com/Recordings https://songwhip.com/artist/kurt-ribak, https://songwhip.com/artist/kurt-ribak-trioFacebook https://www.facebook.com/kurt.ribak.music/SF Jazz Profile: https://www.sfjazz.org/onthecorner/kurt-ribak-interview/Spotify Artist Page https://open.spotify.com/artist/4SiI0WuOSFkkWdfp8LuTpw?si=PFZTcsrASma7FnDqdzKWGwKURT RIBAK PERFORMANCES:Dec. 24, 2024 (a Jazz Service) 7 PM at First United Methodist Church in the Point Richmond District of Richmond, 201 Martina St., Richmond, CA. May 17, 2025 - Show at SFJAZZ in the Joe Henderson Lab.Keep up on all things KURT RIBAK... go to http://www.ribak.com/gigs.html or email him at kurt@ribak.com

Born in Santa Monica, California, Debbie Poryes found herself at the piano when she was five, practicing everything from Chopin to show tunes. Playing led to fascination with musical theory and structure, then jazz standards, composing, and improvising. Hearing Monk and Miles as a teenager, she fell in love with their music and decided to become a jazz pianist. At twenty, her first regular paying gig lasted a year at a Berkeley restaurant, playing five nights a week from 5 p.m. to midnight.Debbie has always gone her own way musically, even while maintaining a constant study through transcription and analysis of her favorite players and composers, such as Bill Evans, Wayne Shorter, Keith Jarrett, Horace Silver, Hank Jones, Sonny Clark, and Clare Fischer. Drawn strongly to 20th century classical music, she has been influenced by many composers, including Aaron Copland and Norman Dello Joio. In her early years as a musician in Oakland, her passion led her to play frequently at jam sessions while continuing to study classical music and jazz with local players. She composed and arranged music, and produced her own concerts with her duos, trios and quartets in addition to freelancing with various local singers and bands. She has performed all over the San Francisco Bay Area notably, at the Stanford Jazz Festival, SFJazz, Yoshi's Jazzclub, the Berkeley Jazzschool, the Healdsburg Jazz Festival, and the Piedmont Piano Company. True to her beginnings, she still loves playing in restaurants and played twice-weekly for 6 years at the New Orleans-styled Oakland restaurant Pican, only stopping when the restaurant up and closed! A significant aspect to Debbie's musical life has been her experience with tendonitis in her wrists. In her thirties, pain forced her to stop playing for two years, during which time she explored many avenues of healing. A breakthrough came when she happened upon Dorothy Taubman's piano technique, which emphasized maintaining the natural coordination of the fingers, hand, and arm. Absorbing this new way of thinking, Debbie continues to study it with her teacher John Bloomfield in New York and pass it along to her grateful students. The injury turned out to be a blessing in disguise, as it led not only to Debbie's development of a beautiful sound without harshness but also an ease and control she didn't have before. One has only to see Debbie play to appreciate how comfortable her hands are at the keyboard.Debbie felt the call to teach early in her career and continues to adore helping students understand jazz and further their own playing. Debbie has internet students around the globe in addition to her students at her home studio. She taught at the Berkeley Jazzschool for over 20 years as well as many summers at the Stanford Summer Jazz Program and has given presentations to the California Music Teachers' Association on how to teach jazz. In the summer of 2018 Debbie moved to Philadelphia. Her husband Tony Fels retired from his teaching job at the University of San Francisco and they, along with their daughter, returned to his hometown. She continues to teach her California and global students through the internet and is enjoying her new students and gigs in Philadelphia.Please visit  https://www.debbieporyes.com/ for Debbie's incredible website. The Golandsky Institute's mission is to provide cutting-edge instruction to pianists based on the groundbreaking work of Dorothy Taubman. This knowledge can help them overcome technical and musical challenges, cure and prevent playing-related injuries, and lead them to achieve their highest level of artistic excellence.Please visit our website at: www.golandskyinstitute.org.