Golden Thread Fairytale Players present
Leila's Quest for Flight
at the Hearst Museum of Anthropology
written and directed by Torange Yeghiazarian
drawn from Palestinian folktales
When the optometrist shatters little Leila's dream of becoming a pilot, a menagerie of mythic birds gather to help her accomplish her goal.
30-minute performance is followed by 20-minute Q & A session with the cast, as well as a brochure with information on the themes and background of the play and further resources for learning.
Golden Thread Fairytale Players create multicultural performances that draw from enriching folk tales and timeless children's stories. Drawn from beloved Palestinian folk tales, Leila's Quest for Flight incorporates music, dance, and physical comedy. These dynamic shows are entertaining for all ages, connecting diverse cultural traditions to contemporary themes. goldenthread.org/fairytale
Find out about other events at the Hearst Museum by going to hearstmuseum.berkeley.edu/events
Oct 27, 11am to 12 noon, Hearst Museum of Anthropology
Doug Goodkin & The Pentatonics are dedicated to bringing all kinds of jazz to all kinds of people of all ages. They are both dedicated jazz artists as well as dedicated music teachers, trained in the Orff approach to joyful music education for children. Starting in the child's world of play, chant and movement they bring audiences to swingin' jazz arrangements at their level of skill and understanding. The group's many acclaimed performances include appearances at the SF Jazz Center, Stanford Jazz Festival and the New Jersey Performing Arts Center.
Bandleader Doug Goodkin is an internationally acclaimed music educator. He has taught music for over 40 years at The San Francisco School and has written eight books, including the groundbreaking Now's the Time: Teaching Jazz to All Ages. Please join us for their debut performance at The Patchwork Series here at The Freight.
Patchwork Series Host Rudy Trubitt spent five years touring the country with the psychedelic rock-and-roll circus that was The Sippy Cups. He loves the family audience and is delighted to bring outstanding local and national performers to the Freight stage.
Kids at the Freight programs are supported by DeYoe Wealth Management, with additional support from the Bill Graham Supporting Foundation of the Jewish Community Endowment Fund, and the Friendship Fund.
Oct 27, 11am to 12 noon, Freight & Salvage Coffeehouse, 2020 Addison Street, Berkeley
Oct 27, 11:45am to 2:45pm, Cheese Board Pizza - 1512 Shattuck Ave, Berkeley, CA
Oct 27, 1pm to 2pm, Books Inc., 1491 Shattuck Ave, Berkeley
Oct 27, 3pm to 5pm, Maybeck Studio, 1537 Euclid Ave, Berkeley
2nd and 4th Saturday's:
October 13th, October 27th,
November 10th, November 24th,
and December 8th
Time: 3:30 pm - 5:30 pm
Cost: $125 for all 5 classes in series, or $30/class
Location: Ashkenaz Music and Dance Community Center
1317 San Pablo Ave, Berkeley, CA
RSVPs greatly appreciated.
Enrich your understanding of traditional West African Rhythms with Master Drummer (Djembefola) and artistic director, Mohamed Lamine Bangoura. Lamine has a deep wealth of knowledge & experience; his energy is unique and unparalleled!! Through his music, Lamine's passion for preserving the history and traditions is revealed through his open hearted eagerness to share his culture. This is an incredible opportunity to study with this master artist, rounding out your understanding of these complex polyrhythms.
In this mixed level drum workshop you'll glimpse into the true spirit of Africa, from the energetic rhythms to Lamine's heartfelt appreciation for this ancient instrument as a tool for human connection and language.
Bring your drum if you have one! If you need a drum to use for class please message in advance. Drum rental fee = $5/class
Oct 27, 3:30pm to 5:30pm, Ashkenaz Music & Dance Community Center, 1317 San Pablo Ave, Berkeley
For details, link here: https://www.eventbrite.com/e/vocals-for-kids-with-gail-dobson-the-starry-plough-pub-tickets-49532787902
Oct 27, 3:30pm to 5:30pm, The Starry Plough Pub - 3101 Shattuck Avenue - Berkeley, CA 94705
Vission Latina trio is a unique group of virtuoso musicians who have stripped down their music to a minimalist sound, exposing the threads that weave together the complex rhythms of
Oct 27, 4:45pm to 7:45pm, Cheese Board Pizza - 1512 Shattuck Ave, Berkeley, CA
McKennaTown is a four-man acoustic ensemble, with David Brownell on mandolin and violin, Berne Reuben on percussion, Joe Saah on stand-up bass, and Steve McKenna on guitar and vocals. We play songs that Steve has been writing and performing in the Bay Area over the past thirty-odd years, and they incorporate folk, rock and roll, blues, and country influences; we also do our own arrangements of some of our favorite songs by people like The Drifters, The Beatles, Tom Petty, and Jimmy Cliff. Collectively, Steve, David, Berne, and Joe bring more than a century of musical experience to the table, a
Oct 27, 6:30pm to 9:30pm, Cafe Leila, 1336, 1724 San Pablo Ave, Berkeley
There's never been a punk band like SWMRS. That's probably because it's too limiting to label the Oakland quartet, "a punk band." SWMRS draws on a variety of influences from the Beach Boys to the Ramones, creating their unique sound.
You might initially detect the caustic broadsides of The Clash and the amphetamine bubblegum of the Ramones. But within the carefully penned lyrics, propulsive energy, and raw honesty, you can hear the echoes of Public Enemy and Frank Ocean, A Tribe Called Quest to Kurt Cobain.
Listen to "Harry Dean," the first song on their debut album, Drive North. The guitars draw blood, the drums detonate, and lead singer, Cole Becker unleashes a bleak but rowdy sneer.
The song chronicles the evolution from high school square-to-learning to let loose. It's about the smallness of our place in the universe and the realization that you can do whatever you want. The central influences are the actor Harry Dean Stanton and "Cheap Beer" by FIDLAR-whose lead singer, Zac Carper produced the album.
"When I was younger, I used to write really political songs and was angry all the time," Cole Becker, 20, says. "I eventually realized that you don't have to write songs about politics to let people know that you're thinking"
The band officially formed in early 2015, but their roots stretch back for years-to when Becker, and his childhood friend, Joey Armstrong (drums) began playing music together at 8 years old. They didn't know how to play their instruments, but they'd seen School of Rock, and tabbed Cole's brother Max to sing and play bass.
Before graduating high school, they'd already released two full-length albums and a handful of EP's. They'd toured the world, and shared stages with Pennywise, Rise Against, and Soundgarden.
But SWMRS is a wholly new endeavor. The band recruited their friend Sebastian Mueller to play bass and Max Becker switched to lead guitar. Yet it's more than just a slightly different formation: they've gone deeper, thought harder, learned to play with more power yet greater control.
After seeing them rip up the stage at Burgerama IV, Saint Laurent Paris creative director Hedi Slimane became so enamored with SWMRS that he asked them to walk the runway at his Paris fashion show, and write the soundtrack for his Spring/Summer 2016 presentation. Fueled by 40 oz. bottles of malt liquor, they turned in a 17-minute version of "Like Harry Dean Stanton." It went over very well.
Their approach is crystallized on the album's title track, "Drive North," It's not a command; it's a concept. It's about hometown pride and the desire to create a unique cultural identity. It's allegorical and subversive, and could be the theme song for the Golden State Warriors the next time they play the Clippers.
Or listen to their first single, "Miley," which i-D Magazine called, "the most punk tribute to Miley Cyrus ever."
"Miley does exactly what she wants. It's really rare to see somebody doing that, Cole Becker says. "She's a business commodity, but seems to have maintained creative autonomy, which is super punk rock. And she's standing up for sexual freedom and gender fluidity...that's important, and something that not a lot of pop stars are doing."
In 2016, punk rock isn't just aesthetic. It's about the ideas. It's about upending expectations and finding freedom in your own voice. SWMRS have made a timeless but modern coming of age album-one that reminds you that you aren't the only one trying to beat against the current.
Originally released on the band's own Uncool Records, Drive North was re-released by Fueled By Ramen in October 2016. The new version of the album includes previously unreleased songs "Palm Trees" and "Lose It".
Los Angeles-based sister duo Jennifer and Jessie Clavin knew that things were going to be different for their band Bleached sophomore LP Welcome The Worms. Not only had they managed to charm world renowned producer and engineer, Joe Chiccarelli (Morrissey, The Strokes, Elton John) to join the sisters and their bassist Micayla Grace in the studio, but Jen and Jessie had been crawling out of their own personal dramas. Jessie was evicted from her house and scrambling, while Jen ended a torrid, unhealthy romance. While emotionally spinning, she dove head first into music. She struggled and escaped the pressures with drinking and partying, sometimes to excess, feeling like she was losing herself altogether.
Formed in 2015 and carrying on the riot girl legacy, Destroy Boys are redefining Left Coast punk. Equal parts hardcore and fun, Destroy Boys is what would happen if Blondie stumbled into a Misfits recording session. Lead singer Alexia Roditis' haunting melodies and Vi Mayugba's shredding guitar are both an homage and an evolution of all things classically punk. The duo's latest album, Sorry, Mom, is a manic reminder of how recklessly expressive punk rock was designed to be and earned them a mention in Rolling Stone magazine by legendary Green Day singer Billie Joe Armstrong in 2016 before either had graduated high school.
With a couple of tours up and down the West Coast under their collective belt, Destroy Boys is hard at work on their upcoming project, while heading off together to attend college at Oakland's esteemed Mills University. Destroy Boys also received two 2017 SAMMIE awards in the Best Punk/Post Punk Band and Teen band categories, as well as a nomination for the Best New Artist category.
Oct 27, 6:30pm to 11pm, The UC Theatre Taube Family Music Hall, 2036 University Avenue, near Downtown Berkeley BART, Berkeley
Thee Pristine Condition
$20 +$2 Membership
Oct 27, 7pm to 11pm, 924 Gilman, 924 Gilman St, Berkeley
Songs of murder, misery, death and despair. Loretta Lynch, the Happy Clams, Nellie Bly, Dizzy Twin, Geoff Pond Ensemble (with Connie Champagne), Buried at Sea, Skye Alexander, Luther Monday, 3 Drink Circus, Manson Family, and Zack the Sound Guy. Costume contest. A Halloween tradition.
Oct 27, 8pm to 9pm, The Starry Plough Pub - 3101 Shattuck Avenue - Berkeley
Tommy Castro And The Painkillers
"Phenomenal and funky...soulful vocals and inspired blues-rock guitar" - The Washington Post
"An inspired blend of high-energy blues, R&B and roadhouse rock...soulful, celebratory vocals and exquisite, stellar guitar" -Blues Revue
Over the course of his career, guitarist, vocalist and songwriter Tommy Castro - a six-time Blues Music Award-winner - has played thousands of shows to hundreds of thousands of ecstatic fans. Castro, along with his band, The Painkillers -- bassist Randy McDonald, keyboardist Michael Emerson and drummer Bowen Brown -- plays music that is guaranteed to fill the floor and raise the roof. With seemingly telepathic musicianship, the Painkillers bring an unmatched passion to Castro's blue-eyed California soul and hard-rocking, good-time songs.
Oct 27, 8pm to 10pm, Freight & Salvage Coffeehouse, 2020 Addison Street, Berkeley
Oct 27, 8pm to 10pm, Caffè Chiave, 2500 San Pablo Ave, Berkeley
A surreal pre-Halloween CD release event!
Sheldon Brown Group is celebrating the upcoming release of their new CD, Blood of the Air, with this special pre-Halloween concert.
Blood of the Air is a suite of pieces based on the poetry and speech melodies of surrealist poet Philip Lamantia. Blood of the Air premiered at the 32nd Annual San Francisco Jazz Festival in 2014, and has also been performed at the Hammer Museum in Los Angeles, Duende in Oakland, and SF Inter Music's annual Day of Music and Presidio Club series in San Francisco.
Philip Lamantia, whose mystical work is noted for its wild imagery, is widely considered America's greatest surrealist poet. He was mentored by Kenneth Rexroth and was closely associated with the beat writers Allen Ginsberg, Jack Kerouac, and Michael McClure In his youth. Lamantia was recognized by Andre Breton as "a voice that rises once in a hundred years."
The music of Blood of the Air is by turns passionate and grooving, dark and moody, and playfully reflective. Sheldon Brown Group consists of some of the Bay Area's most distinctive and accomplished jazz and new music performers.
This show features:
Sheldon Brown - Soprano, Alto, and Tenor Saxophones, Clarinet, Bass Clarinet
Darren Johnston - Trumpet
Lorin Benedict - Voice
Andrew Joron - Theremin
John Finkbeiner - Guitar
Jonathan Alford - Piano
Dan Zemelman - Piano
Michael Wilcox - Bass
Alan Hall - Drums
Tickets are $18 and are available at the link below, or you may purchase your tickets at the door the night of the show. Doors open one half hour before show time. We accept cash only at the door (ATMs are nearby).
The Back Room is an all-ages, BYOB (for those 21+) space, dedicated to (mostly) acoustic music of all kinds. You are welcome to bring your own adult beverage with no additional corkage fee. If you need more information or have any questions, please call us: #510-654-3808. Thank you for your support!
Oct 27, 8pm to 10pm, The Back Room, 1984 Bonita Ave, Berkeley
Don't miss this performance by one of the Bay Area's - and the world's - best jazz vocalists!
Kenny Washington just lets the music happen. A master at improvisation and technique, he plays with the band wherever they may go. Be prepared to be blown away!
Joining Kenny will be Larry Dunlap on piano, Gary Brown on bass, and Alan Hall on drums.
Kenny Washington has thrilled audiences across the globe with his soulful interpretations, seemingly limitless range, and inventive scatting. Based in the San Francisco Bay Area, Washington appeared in 2013 with Wynton Marsalis and The Jazz At Lincoln Center Orchestra to perform 'Blood On The Fields', alongside vocalists Gregory Porter and Paula West. He returned in 2014 for 'Basie & The Blues' with pianist Eric Reed and again in 2016 to celebrate Frank Sinatra's 100th birthday. In 2017, Washington performed with Wynton Marsalis and The Jazz At Lincoln Center Orchestra alongside Roberta Gambarini, to celebrate Ella Fitzgerald's 100th birthday.
Born and raised in New Orleans, Washington grew up singing gospel in church and playing saxophone in school bands. Jazz caught his interest when the great clarinetist Alvin Batiste performed at his high school with a band of students that included two precocious, talented teenage brothers named Branford and Wynton Marsalis. Inspired, Washington went on to study music at Xavier University, playing saxophone and singing in a variety of styles.
After college, Washington joined the honorary U.S. Navy Band Guam, followed by the U.S. Navy Band 7th Fleet stationed in Japan. He auditioned as a saxophonist, but discovery of his singing talent landed him a spot as a vocalist in both bands. For nine years, Washington performed with the bands across Asia, Russia, Australia and the U.S.
After settling in the San Francisco Bay Area, Washington was cast alongside Elvis Costello, Deborah Harry and Nancy King in a featured role in 'Fire at Keaton's Bar & Grill', an off-Broadway theater production by saxophonist Roy Nathanson. Further success came with an invitation to join vibraphonist Joe Locke on several dates leading to Washington's feature on Locke's 'For The Love of You' (2010).
Washington continues to appears nationally and internationally with The Joe Locke Group as well as maintain a busy schedule of solo national and international appearances.
Oct 27, 8pm to 10pm, Rendon Hall/Fiddler Annex @ California Jazz Conservatory 2040 Addison Street, Berkeley
Fuel, National Theatre, and West Yorkshire Playhouse, Cal Performances
Barber Shop Chronicles, created by Nigerian-born, UK-based poet and playwright Inua Ellams, explores the diversity of black male identity through the rituals and verbal banter of the urban barbershop. The cast riffs on topics both personal and political-from sports to race relations to views about fatherhood and masculinity-as we eavesdrop on conversations in six different barbershops in London, Lagos, Johannesburg, Accra, Kampala, and Harare over the course of a single day.
Oct 27, 8pm to 10pm, Zellerbach Hall
Sideband is an electroacoustic ensemble, comprised of composer-performers dedicated to exploring the potential of the laptop orchestra. Read more at http://www.cnmat.berkeley.edu/events/sideband
Oct 27, 8pm to 10pm, CNMAT Center for New Music and Audio Technologies, 1750 Arch St, Berkeley
On their new album Shapeshifter II: Outbreak, New York-bred band TAUK offer an unsettling but ultimately exhilarating look at artificial intelligence and its potential to upend our world. With its dynamic sense of tension and cinematic mastery of mood, TAUK's all-instrumental blend of progressive rock, hip-hop, and jazz proves to be the perfect backdrop for such explorations, giving way to an album that's both powerfully hypnotic and intensely thought-provoking.
"We're all very much interested in A.I., and this idea of machines getting out of the hands of the people trying to control them," notes TAUK guitarist Matt Jalbert, whose bandmates include bassist Charlie Dolan, keyboardist Alric "A.C." Carter, and drummer Isaac Teel. "This album felt like a good setting to tell that kind of story, but in a way where we could have fun with it and let the listener escape into a whole other world."
Equally inspired by classic sci-fi like Blade Runner and more recent films like Ex Machina, Shapeshifter II: Outbreak embeds that narrative into TAUK's most sonically adventurous, emotionally expansive work to date. A continuation of their early-2018 EP Shapeshifter I: Construct, the new album picks up its predecessor's narrative thread with "Prelude": a fantastically unsettling intro track whose frenetic keyboard work and chilling vocal samples set the tone for what's to come. "The idea is that in the EP you're seeing the construction of this being, and in the album you're seeing it break out and become something that you can't ignore anymore," Carter explains.
From there, TAUK charge forward with the driving rhythms of "Recreational Outrage" (a track laced with the ominous throb of a robotic heartbeat), the futuristic soundscape and heady grooves of "CMF 9000," the gauzy reverie and glorious chaos of "Checkmate," and the bright melodies and soulful guitar sprawl of "Convoy." One of the album's most mesmerizing moments, "Let It Ride" builds a brilliant tapestry from its luminous keyboard tones, kinetic guitar work, and kaleidoscopic rhythms. And on "Upside Down," TAUK close out Shapeshifter II: Outbreak with a thrillingly epic burst of unfettered experimentalism.
Free-flowing yet elaborately composed, Shapeshifter II: Outbreak came to life in collaboration with TAUK's longtime cohort Robert Carranza-a Grammy Award-winning producer/mixer/engineer also known for his work The Mars Volta, Ozomatli, Marilyn Manson, and Taj Mahal. In a departure from their previous releases (including 2016's Sir Nebula), the band shunned the typical studio environment and holed up for weeks in a long-abandoned, century-old home that Teel describes as "the Jumanji house meets Addams Family meets Amityville Horror." Located in their homeland of Long Island, the house turned out to be the ideal spot for their makeshift studio, allowing for a creativity-enhancing seclusion. "Overall the whole process was incredibly organic-there were no constrictions as far as time or space, nothing ever felt forced," says Dolan. "There was a greater feeling of possibility, and it ended up being a really liberating experience for all of us." Jalbert adds: "The location definitely added to the vibe of everything we were going for. It was like we set up a laboratory in the middle of nowhere and shut off the rest of the world, which really helped get us into a specific headspace."
True to its thematic terrain, Shapeshifter II: Outbreak endlessly blurs the boundaries between organic and electronic, with TAUK broadening their sonic palette to include a vast spectrum of synth sounds and programmed effects (such as those exquisitely eerie vocal samples heard in "Prelude"). And in sculpting the album's intricate arrangements, TAUK called on such esteemed musicians as The Naughty Horns, Ghost-Note's Nate Werth (a percussionist who's also played with David Crosby, Q-Tip, and Snarky Puppy), and Juan Alderete (longtime bassist for Racer X and The Mars Volta).
Throughout Shapeshifter II: Outbreak, TAUK reveal the potent chemistry they discovered in childhood, when longtime friends Dolan, Jalbert, and Carter formed their first band in seventh grade. After playing together in various projects, the trio brought Teel into the fold in 2012, cementing the final lineup. Since then, TAUK have shared stages with acts like Umphrey's McGee, Widespread Panic, and Lettuce, appeared at festivals like Electric Forest and Bonnaroo, and earned acclaim from major outlets like the Washington Post (who praised TAUK for "creating a hard-charging, often melodic fusion that-thanks to a penchant for improv-offers limitless possibilities"). As Teel points out, the band's incessant touring over the years has significantly strengthened their musical connection. "The four of us as individuals are all very animated souls in our own right," he says. "We each have our ideas and our perspectives, and when it all comes together, it creates this collective statement that takes on a life of its own."
In creating Shapeshifter II: Outbreak, TAUK made that statement more deliberate and impactful than ever before. But while several upcoming videos and the vibrant artwork of illustrator Raul Urias add a new dimension to the album's concept, the band purposely maintained a certain open-endedness in its execution. "People tell us all kinds of stories about what our songs mean to them, and it's always cool to see how wide the gamut of those stories is," says Carter. "What the song means to me might not be the same as what it means to you, but that's one of the great things about this whole experience. There's room for everyone to develop whatever narrative they want."
Oct 27, 8:30pm to 9:30pm, Cornerstone, 2367 Shattuck Ave (Enter On Durant), Berkeley
The move an artist makes from punk beginnings to more complicated crafts is fascinating to hear. Anita Lofton makes the trek with the Anita Lofton Project.
Formerly of punk trio Sistas in the Pit, the talented guitarist and singer-songwriter gave up her wah-wah, smallstone and rat pedals for greater things. With her former Sistas she toured China and Europe, and took an infamous national tour supporting a certain James "Iggy Pop" Osterberg and the Stooges during that band's reunion in 2007. She claims to have "traded in her Marshall half stack and Epiphone semi hollow body casino for a microphone and an Epiphone acoustic guitar," yet she's got the rock in her blood. With Anita's new minimal and acoustic approach she expresses a new direction in songwriting that is as candid, earnest, cool and assertive while seeking greater understanding of others and cloaking sentiment in attitude.
Of course she gets by with a little help from her friends:
zhalisa clarke (violin)
kippy marks (violin)
sharon williams (violin)
linda green (viola)
fran curtis (upright bass)
wanika stephens (upright bass)
ellen sanders (cellist)
AFE @UCJP CCSF # 2 copy.jpg
The Afrofunk Experience is an ambrosial mix of musical interpretations influenced by the African diaspora, created in a collective and organic manner. With Sila Mutungi they comprised the award-winning group Sila and the Afrofunk Experience until 2010, providing songs and grooves that earned them the title "The Bay Area's Dance Kings", as well as the NAACP Image Award's Outstanding World Music Album for "Black President" and the SF Weekly Music Award's Best International Act.
Guitarist/Singer David James (Spearhead, The Coup, Beth Custer) brings his sinewy style to counter the funk-metal stylings of lead guitarist Ken House (H.P. Riot). The precise funk-rock drumming of Paul Oliphant (Afrolicious, Will Magid Trio) with Wendell Rand's (Afrolicious, Tracorum, Youssoupha Sidibe) muscular dance grooves keep the band tight, while saxophonist David Boyce (Broun Fellinis, The Supplicants) and trombonist Alan Williams (Manicato, Katdelic) wail, their horns producing a sound that encompasses outward-bound jazz, classic reggae, afrobeat and R&B. Percussionist B. Lee thickens and adds flavor to the mix, and on top of all this, recent addition Sandy House adds her sultry voice and powerful stage presence.
Doors at 8:30 pm; Show at 9:00 pm
Tickets are $15
Buy Tickets Here
Oct 27, 9pm to 11:59pm, Ashkenaz Music & Dance Community Center, 1317 San Pablo Ave, Berkeley
Charged Particles is making some of the most exciting and creative jazz today, crossing stylistic boundaries and blending multiple traditions to create sparking new sounds: high-energy, elaborately orchestrated original jazz, infused with elements of funk, Afro-Cuban music, and classical music. See www.chargedparticles.com.
Oct 27, 10pm to 11pm, Jupiter, 2181 Shattuck Avenue, Berkeley