5 Jazz Covers of Radiohead

"Exit Music (For A Film)" (Brad Mehldau)

Perhaps no one has interpreted Radiohead as well as pianist Brad Mehldau. His covers not only do justice to the mood, melodies and textures we love Radiohead for, but they are always distinctly Mehldau (one of the reasons he's garnered such a following). Keep an ear out for "Exit Music" and more Mehldau-Radiohead covers ("Paranoid Android," "Knives Out") when Mehldau's Trio comes to SFJAZZ Novemeber 10-11.

"Maiden Voyage / Everything In Its Right Place" (Robert Glasper)

At a time when mash-ups were the rage, Robert Glasper (always hip to the times) mashed Herbie Hancock's classic "Maiden Voyage" melody over Radiohead's heady, odd-time "Everything In Its Right Place." Runner-up goes to Glasper Trio's sumptuous cover of Radiohead's "Reckoner," heard at the 33rd Annual San Francisco Jazz Festival back in June (find it on his new album Covered).

"The Eraser" (Christian Scott)

Although technically not a Radiohead cover ("The Eraser" is the title track off Thom York's debut solo album), Christian Scott captures the mood beautifully with his Harmon-induced "whisper technique" over a grainy piano vamp. Even York dug it,  inviting Scott up to the stage to perform "The Eraser" at the Roseland Ballroom back in 2010!

"Karma Police" (The Bad Plus)

Known well for its covers, The Bad Plus have interpreted Nirvana, Niel Young, Aphex Twin, Black Sabbath, Pixies and Stravinsky. Not until the compilation album Exit Music: Songs With Radio Heads did the longstanding trio put its sonic stamp on Radiohead's "Karma Police." Now, if only Joshua Redman got on this track when The Bad Plus Joshua Redman comes to town in December!

"The National Anthem" (Chris Dave / Meshell Ndegeocello)

Off the same Exit Music compilation, Chris Dave and Meshell Ndegeocello's "The National Anthem" takes the edgy rock vamp of Radiohead's original and makes it super funky. Ndegeocello, using tasteful effects, doesn't imitate Thom York (impossible to do, which is why most Radiohead covers here are instrumental). The go-go veteran does her own thing, and it works. Fans of "The National Anthem" probably dig the raw horn lines. Chris "Daddy" Dave gives the horns even more space to experiment.

Want more Radiohead covers? Check out SFJAZZ's "Radiohead Meets Jazz" Playlist!

Five Spot: Happenings In The Jazz World This Week (11/2-7)

Raul Rekow, 1954-2015

• Percussion great and longtime Santana conguero Raul Rekow passed at age 61.
• Chucho Valdés reflects on Irakere and his career (The New York Times).
• Bay Area latin jazz maestro John Santos turns 60, celebrates at SFJAZZ.
• The Jaco Pastorious Documentary is set for a red-carpet premiere.
• John Coppola, endeared SF trumpeter (Green Street Mortuary Band), passed at age 86.

Five Spot: Happenings In The Jazz World This Week

Archie Shepp, 2016 NEA Jazz Master

• 'Cuba: The Conversation Continues' w/ Arturo O'Farrill & The Afro Latin Jazz Orchestra on NPR Music's Jazz Night In America.
• Endeared jazz vocalist Mark Murphy passed at age 83.
• National Endowment for the Arts announced the 2016 NEA Jazz Masters.
• Herbie Hancock is working on new music with Flying Lotus, Thundercat, Pharrell & more.
• SFJAZZ Resident Artistic Director Esperanza Spalding rocks new single “One” on Jimmy Kimmel Live.

SFJAZZ Collective performs Michael Jackson's "Working Day And Night"

The SFJAZZ Collective debuts new compositions and fresh arrangements of the music of Michael Jackson during its 2015-16 Tour, including an upcoming 4-night run at the SFJAZZ Center (10/22-25). Here's a performance of Jackson's "Working Day And Night" arranged by vibraphonist Warren Wolf at NYC's Subculture during Winter Jazz Festival 2015.

© KIDAM / MEZZO / BD2P 2014
Directed by Mathieu Mastin
Director of Photography Stephane Puccini
Editing by Mathieu Mastin and Louis Macera
Post Production by François Nabos

Billy Strayhorn Centennial: 5 Deep Cuts

Portrait of Billy Strayhorn

William Gottlieb Collection (c. 1946)

Billy Strayhorn's centennial is coming up in November! We're getting the celebration started early with Allan Harris Quartet with Eric Reed's Tribute (10/1-4). And to ready ourselves for the music of one of America's greatest composers, we've dug deep into Strayhorn's discography to bring you five deep cuts you must hear.

— — —

Most Strayhorn fans are well aware of "The Star-Crossed Lovers" off Such Sweet Thunder (a suite very personal to Strayhorn, an avid reader of William Shakespeare). However, this Johnny Hodges feature was actually recorded a few years earlier on Hodges' Creamy under the title "Pretty Little Girl."

Late in his career, Strayhorn gravitated toward classical composition. "Suite for Horn and Piano" might be the most beautiful thing Strayhorn ever wrote. Although classical in form, it is unmistakably Strayhorn in its dense harmony and ponderous, gorgeous melody.

While "Lush Life" is without a doubt his most famous composition, this lesser-known recording features Strayhorn himself on piano and voice. It's far from perfect. His voice cracks, and is out of tune at times. But this matter-of-fact, conversational rendition captures the essence of the song more than any other recording.

Strayhorn wrote "Upper Manhattan Medical Group" for the medical staff (in particular Duke Ellington's personal physician, Dr. Arthur Logan, a dear friend) who took care of him after his cancer diagnosis in 1964. Ellington & His Orchestra recorded "U.M.M.G" on ...And His Mother Called Him Bill (1967) shortly after Strayhorn's death.

Strayhorn was especially talented at writing ballads. "A Flower Is A Lovesome Thing" stands as one of his most beautiful ballads, in particular a 1961 recording done in Paris, featuring the Paris String Quartet and Strayhorn himself on piano (originally released on The Peaceful Side in 1963).

A Concert Of Sacred Music, 50 Years Later

Duke Ellington & His Orchestra consecrated San Francisco's Grace Cathedral with the premiere of "A Concert Of Sacred Music" on September 16, 1965. The concert was filmed (above) by KQED, in partnership with San Francisco Chronicle jazz critic Ralph Gleason.

"I recognized this as an exceptional opportunity," Ellington wrote in his 1973 autobiography Music Is My Mistress. "'Now I can say openly what I have been saying to myself on my knees.'"

Read Jesse Hamlin's "Sanctified By Jazz: Music at Grace Cathedral."

25th Anniversary of Duke Ellington's "Concert Of Sacred Music" (Program Book Cover)

25 years later (1990), Jazz In The City (now SFJAZZ) presented the 25th Anniversary of Ellington's "most important work of his career" at Grace Cathedral, featuring The Duke Ellington Orchestra (dir. by Mercer Ellington), Brock Peters, Jimmy McPhail, Oakland Interfaith Gospel Choir, and special guest Bunny Briggs.

Grace Cathedral

And then 50 years later, SFJAZZ presented the 50th Anniversary of Duke Ellington's "Concert Of Sacred Music." What was different this time around? While the 25th Anniversary sought to recreate the music and exact program premiered by Ellington in 1965, the 50th Anniversary was a reworking, with all-new arrangements by acclaimed saxophonist, bandleader and longtime SFJAZZ Collective member Miguel Zenón.

Old & New: Top 5 Billie Holiday Tributes

Billie Holiday & dog "Mister" (William Gottlieb Collection)

In honor of Billie Holiday's centennial year, and the tremendous influence the legendary singer has had on artists of every generation, we've pulled together five tributes (old and new) to Lady Day.

Although "Strange Fruit" isn't a Holiday original (penned by Abel Meeropol as a poem in 1937), Lady Day made it famous. (Legend tells that Holiday would close out sets with the song. Waiters would stop all service, the room would be in darkness except for a spotlight on Holiday, and there would be no encore.) Nina Simone, who acknowledges Holiday as one of her biggest inspirations, gives one of the most stirring renditions of "Strange Fruit" you'll hear.

In a recent interview with VH1, rising vocalist José James called Billie Holiday his "musical mother." James captures a beautiful mood on Yesterday I Had the Blues: The Music of Billie Holiday (2015), his third release on Blue Note Records. Even better, James brings this project to San Francisco on Saturday, September 20th.

Pianist Mal Waldron accompanied Billie Holiday regularly from April 1957 until her death in July, 1959. Although Waldron recorded Left Alone in 1959, he was reluctant to release it immediately, given a large outpouring of "bandwagon" tributes recorded and released immediately after Holiday's passing. In addition to a beautiful collaboration with Jackie McLean on "Left Alone," the album features an enlightening "Mal Waldron Interview: The Way He Remembers Billy Holiday."

Cassandra Wilson lends her rich, dusky sound and interpretive gift to a selection of Billie Holiday classics on Coming Forth By Day (2015) to celebrate the singer's centennial. Wilson's final song, "Last Song for Lester Young" is intended to fill a void left by the events surrounding the funeral of Holiday's long time companion, Lester Young. After hearing of Lester’s passing while touring in Europe, Billie immediately flew home to the States to attend his funeral. She wanted to sing a song for him as a final farewell. Unfortunately, Lester’s family, for whatever reason, denied Billie the opportunity to sing. Like José James, Wilson brings her centennial tribute to San Francisco in May, 2016.

Abbey Lincoln reflects on Lady Day in a rare interview conducted around the time she released Abbey Sings Billie, Vol. 1 & 2 (1987). An avid civil rights advocate throughout the 1960s, Lincoln cites Holiday as one of her biggest influencers. Referencing "Strange Fruit," Lincoln praises Holiday for having "the courage to defend herself. When they were lynching men and women in the south, she sang about it. None of the other women or men sang about it: that's why Billie is different from the rest of them."

SFJAZZ celebrates the centennial of Billie Holiday with José James and Cassandra Wilson in the 2015-16 Season.

Get To Know Trumpeter Sean Jones, Newest SFJAZZ Collective Member

If you attended the 50th Anniversary celebration of Duke Ellington’s Concert of Sacred Music at Grace Cathedral, you were undoubtedly impressed by the trumpet virtuosity of Warren, Ohio native Sean Jones, who recently became the newest member of the SFJAZZ Collective. Immersed in gospel music as a child, he discovered the trumpet at age 10 through the music of Miles Davis, and experienced a musical awakening upon hearing John Coltrane’s iconic recording A Love Supreme for the first time.

“I was driving in my car at the time and I had to pull off the road. All at once, everything just came together for me. My past, my present, my future. I knew the course I needed to pursue.”

After earning a Masters degree from Rutgers, Jones set out on his professional career, working with an impressive list of major artists including Joe Lovano, Tia Fuller, Tom Harrell, Steve Turre, and Nancy Wilson, among others. From 2005 to 2010, Jones was lead trumpet for the Jazz at Lincoln Center Orchestra with Wynton Marsalis, recording a pair of albums and criss-crossing the globe with the masterful ensemble before stepping down to devote time to new endeavors.

Since 2004, Jones has released seven albums as a leader, all on the Mack Avenue label, including his 2014 quartet release, im*pro*vise: Never Before Seen. He has continued his session and tour work as a sideman, performing with bass giant Marcus Miller and vocalist Dianne Reeves, and won Rising Star trumpet nods from DownBeat as well as a Best New Artist in JazzTimes’ 2007 Reader’s Poll. His current quartet features pianist Orrin Evans, bassist Luques Curtis, and his SFJAZZ Collective bandmate Obed Calvaire on drums.

In tandem with the 37-year-old’s career as a performer and composer, Jones is steadfastly committed to music education. He is currently the Brass Department Chair at Berklee College of Music in Boston, and has taught at Pittsburgh’s Duquesne University as well as Ohio’s Oberlin Conservatory. He served as Artistic Director of the Cleveland Jazz Orchestra for five years, and presently serves as trumpeter and Artistic Director of the Pittsburgh Jazz Orchestra. Locally, Jones holds the position of Jazz Artist In Residence with San Francisco Performances, and officially joined the SFJAZZ Collective in August, 2015.

Below, Jones shares his wisdom on the trumpet, and on jazz education. Get to know the newest Collective member!

Sean Jones performs with the SFJAZZ Collective, performing music from Joe Henderson's 1963 Blue Note classic Page One on 10/15 as part of the SFJAZZ Hotplate series (click for more info), and the music of Michael Jackson from 10/22 - 10/25 (more information).

Greg Leisz reflects on touring with Joni Mitchell

"I think what she really teaches other people is that you should just find your own artist in you. She is to me the definition of an artist..." Greg Leisz reflects on touring with Joni Mitchell.

Leisz performs at the SFJAZZ Gala 2015 All-Star Concert tomorrow, Friday, May 8th, where Joni will be honored with a SFJAZZ Lifetime Achievement Award (to be accepted by Wayne Shorter).

What would you say to Joni? ‪#‎ThankYouJoni‬

sfjazz.org/thankyoujoni

#ThankYouJoni Art Installation in Hayes Valley

#ThankYouJoni Portraits

On Saturday, May 2nd, SFJAZZ installed a #ThankYouJoni Art Installation in the windows of the San Francisco Unified School District Building (opposite SFJAZZ Center) where the Herman Leonard jazz portraits have resided since the opening of the Center back in January, 2013.

This tribute to Joni Mitchell, part of the SFJAZZ Gala 2015 honoring Joni with a Lifetime Achievement Award (to be accepted by Wayne Shorter), sparked numerous #ThankYouJoni messages and well-wishes from Joni fans on Facebook, Twitter and Instagram, as well as on the fence beneath the art installation!

Why #ThankYouJoni? The phrase arose organically from interviews we've been conducting with artists at the SFJAZZ Center since February. The #ThankYouJoni YouTube Playlist below compiles all of these interviews. You can also watch them, and learn much more, at sfjazz.org/thankyoujoni.

Chris Turner remembers how he discovered Joni Mitchell

"An artist without a genre attached, from electronic music, to soul music, to folk music, to jazz music, that's something that Joni Mitchell has done throughout her career, and continues to do..." 

Oakland's own Chris Turner remembers how he discovered Joni Mitchell.

How did you discover Joni? ‪#‎ThankYouJoni‬

sfjazz.org/thankyoujoni

Eric & Anissa Martell Harland remember how they discovered Joni Mitchell

"It just completely blew me away that someone could sound so soulful, yet so elegant, and yet so uniquely different at the same time..." Eric Harland and Anissa Martell Harland each remember how, and when they discovered Joni Mitchell. How did you discover Joni? ‪#‎ThankYouJoni‬

Joni Mitchell will be honored with the SFJAZZ Lifetime Achievement Award at this year's Gala on May 8th. Watch what other artists have to say at sfjazz.org/thankyoujoni.

Charles Lloyd's #ThankYouJoni Video

"Your mind, is a beautiful mind, because you always use it for the higher benefit of the planet..." Charles Lloyd speaks some words for Joni Mitchell. What would you say to Joni? ‪#‎ThankYouJoni‬

#ThankYouJoni: Gerald Clayton

"When I think of Joni Mitchell, I think of a true artist, in every sense of the word, someone who's searching for meaning in the mysteries of life..." Gerald Clayton shares words for Joni Mitchell. What would you say to Joni? ‪#‎ThankYouJoni‬

Joni Mitchell will be honored with the SFJAZZ Lifetime Achievement Award at this year's Gala, on May 8th.

#ThankYouJoni: Bill Frisell

"There's certain events, times in my life, where she would be a sign post along the way..." Bill Frisell reflects on Joni Mitchell's music, and performing with Joni in Toronto. Share your words for Joni using ‪#‎ThankYouJoni‬ on Facebook, Twitter and Instagram.

SFJAZZ honors Joni Mitchell with a Lifetime Achievement Award at this year's Gala on May 8th.

LISTEN: "We Love Joe" Playlist

In honor of Joe Henderson's birthday today, and the SFJAZZ Collective closing out its Music of Joe Henderson & Original Compositions Spring Tour tonight at the Reno Jazz Festival, here's a playlist of our favorite recordings from the "goateed astronaut of the tenor sax" and longtime San Francisco resident!

SFJAZZ Collective members pick their favorite Joe Henderson recordings

Charles Lloyd: NEA Jazz Master Tribute

"This is a music of freedom and wonder. It uplifts, it inspires, it touches the heart, and it heals. It is transformational. Jazz is our indigenous art form and is constantly evolving while remaining deeply rooted in tradition and nourished by the American terroir. I have been drunk with the pursuit of ‘the sound’ all my life – and have been blessed to stand on the shoulders of those who came before me and gave encouragement – this is also part of the tradition."

— Charles Lloyd

2015 NEA Jazz Master Charles Lloyd's SFJAZZ Residency runs from 4/23-26!

Kendrick Scott's "aha moment" from Joni Mitchell's 'Both Sides Now'

Drummer Kendrick Scott recalls the "aha moment" he had listening to Joni Mitchell's Both Sides Now. Joni will be honored with the SFJAZZ Lifetime Achievement Award at this year's Gala on May 8th. Each week leading up to the Gala, we'll share new #‎ThankYouJoni‬ videos from recent SFJAZZ performers.

What would you say to Joni? ‪#‎ThankYouJoni‬

#ThankYouJoni: Lizz Wright

"Joni is very much like one of her paintings..." Vocalist Lizz Wright reflects on Joni Mitchell, who will be honored with the SFJAZZ Lifetime Achievement Award at this year's Gala on May 8th.

We have asked a number of recent SFJAZZ performers what they would like to say to Joni. Each week leading up to the Gala, we'll share new videos at sfjazz.org/thankyoujoni and on Facebook, Twitter and Instagram with ‪#‎ThankYouJoni‬.

What would you say to Joni?

SFJAZZ Collective's Robin Eubanks: Notes on Joe Henderson's "Black Narcissus"

Robin Eubanks © Jay Blakeberg

“I researched and listened to many different recorded versions of Joe Henderson's classic ‘Black Narcissus.’ Most were very similar to the original. Why mess with a classic, right? But I wanted to try and approach it differently. I got the idea for the drone tones from the melody. Joe composed the melody beginning with four B-flat dotted half notes. I stacked perfect 5ths to build the harmony and added a melody to set up the intro. Joe's melody is untouched but I re-harmonized it, slowed down the tempo and added a semi-funky beat to create a different feel for the composition.”

— Robin Eubanks, album notes from the SFJAZZ Collective's new album The Music of Joe Henderson and New Compositions, now available!

SFJAZZ Collective's 2015 Spring Tour begins this Thursday (4/9) at the Jazz Standard in NYC!