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
The artist granted permission to use the music featured on this podcast.
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
• Follow Melissa Aldana on Instagram
Upcoming San Francisco Show:
• Date: Saturday, January 17th
• Venue: Miner Auditorium, SFJAZZ Center
• Double Bill: Melissa Aldana & Taylor Eigsti
Episode: Sasha Berliner at SFJAZZ — Recontextualizing the Vibraphone
In 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 festive episode, Steve Roby chats with acclaimed pianist, composer, and educator Adam Shulman, a key figure in the San Francisco jazz scene since 2002. Known for his work as a sideman with artists like Paula West, Stefon Harris, and Miguel Zenón, as well as for his own original albums, Adam shares insights into his musical journey and the timeless magic of Vince Guaraldi’s “A Charlie Brown Christmas.”
Key Topics & Highlights
A Holiday Tradition: Adam shares his yearly tribute to Vince Guaraldi’s “A Charlie Brown Christmas,” performed with his trio at SF Jazz’s Miner Auditorium. He reflects on why the music connects across generations and how it has become a family tradition for many in the Bay Area.
Musical Roots: Adam explains how his classical piano training at UC Santa Cruz and mentorship under Smith Dobson influenced his approach to jazz improvisation and composition.
Compositional Process: The episode features tracks from Adam’s catalog, including “The Little Ones” and “Mingus Dreams of Billy Strayhorn.” Adam explains his creative process, often starting with harmony and drawing inspiration from jazz greats.
The Art of Adaptation: Adam discusses balancing his roles as a bandleader and a sought-after sideman, and how collaborating with different artists shapes his unique sound.
Behind the Scenes: Listeners get a preview of the upcoming Charlie Brown Christmas show, including the setlist featuring music from both the original album and Guaraldi’s “A Boy Named Charlie Brown,” along with introductions to his longtime bandmates John Tala (bass) and James Gallagher (drums).
Family-Friendly Jazz: Adam and Steve discuss the importance of introducing young audiences to live jazz and how the Charlie Brown Christmas show serves as a gateway for many to discover jazz.
Event Details
Adam Shulman Trio Plays A Charlie Brown Christmas
Date: Sunday, December 21st
Time: 1:00 PM (Matinee)
Location: SF Jazz’s Miner Auditorium
Tickets & Info: https://www.sfjazz.org/tickets/productions/25-26/adam-shulman-trio-charlie-brown-christmas/
Bring the whole family for an afternoon of timeless holiday music and jazz improvisation!
Connect with Adam Shulman
Learn more about Adam’s music and upcoming performances on his website: https://www.adamshulmanjazz.com
Thanks for Listening!
If you enjoyed this episode, please subscribe, rate, and review Backstage Bay Area. Stay tuned for more conversations with the jazz artists shaping the Bay Area’s vibrant music scene. We’re 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, 2025
Venue: Miner Auditorium, San Francisco
Tickets: https://www.sfjazz.org/tickets/productions/25-26/upswing-sasha-berliner-michael-mayo/
Connect with Michael Mayo:
Website: michaelmayomusic.com
Instagram: @themichaelmayo
Facebook: Michael Mayo Music
YouTube: Michael Mayo
Episode Description: In this episode of Backstage Bay Area, host Steven Roby sits down with vocalist and songwriter Sachal Vasandani. Known for a voice that critics call "transfixing," Sachal has collaborated with everyone from Wynton Marsalis to Bobby McFerrin.
Sachal discusses his latest project, Best Life Now, and the surprising journey of taking that album—originally produced with deep grooves by drummer Nate Smith—and stripping it back to its raw, acoustic essentials. We dive into his philosophy on jazz improvisation, his "brush your teeth" approach to vocal discipline, and how he navigates the confusing headspace of post-pandemic life through song.
In This Episode, We Cover:
· The Ella Effect: How listening to Ella Fitzgerald taught him to find new "nooks and crannies" in songs he has sung thousands of times.
· The Acoustic Pivot: Why a logistical travel snag turned into a creative breakthrough for his Acoustic Sessions EP.
· Lyrical Tension: The story behind the title track "Best Life Now" and why living your "best life" isn't always as simple as it sounds.
· Teaching Jazz: Sachal’s unique philosophy on balancing technical discipline with the freedom to break the rules.
· Live at Joe Henderson Lab: Previewing his intimate reunion with Bay Area natives Dayna Stephens and Charles Altura.
Featured Music:
· "Best Life Now" (Acoustic Version)
· "Too Easy"
Links & Resources:
· Tickets: Sachal Vasandani at SFJAZZ (Dec 12)
· Album: Best Life Now & Acoustic Sessions EP (Available on all streaming platforms)
Connect with Backstage Bay Area:
· Website: Backstagebayarea.com
· Host: Steven Roby
Episode Description: In this episode of Backstage Bay Area, host Steven Roby sits down with Frank London, trumpeter and founding member of the Grammy Award-winning band The Klezmatics.
For four decades, The Klezmatics have been the world’s leading voice in blending traditional Yiddish roots with the energy of punk, jazz, and gospel. Frank shares stories from the band’s origins in New York’s gritty East Village scene of the 1980s and discusses their landmark collaboration with the Woody Guthrie estate—a project that unearthed lost Hanukkah lyrics by the American folk icon.
We also get an exclusive preview of their upcoming album, We Were Made for These Times, and discuss why bringing "happy, joyous" energy to the stage is a necessary form of activism today.
In This Episode, We Cover:
· The East Village Spark: How the 1980s avant-garde and punk scenes helped launch a global klezmer revival.
· Woody Guthrie’s Lost Lyrics: The incredible story of how Nora Guthrie discovered her father's Jewish-themed writings and tapped The Klezmatics to bring them to life.
· 40 Years of Music: How the band has kept its core lineup together and evolved its sound over four decades.
· New Music Preview: Frank discusses the socially conscious themes behind their upcoming 2026 album, We Were Made for These Times.
· Live at SFJAZZ: Why the band goes "full throttle" on improvisation when they play the Miner Auditorium.
Featured Music:
· "Spin Dreydl Spin"
· "(Do The) Latke Flip-Flip"
Links & Resources:
· Tickets: The Klezmatics at SFJAZZ (Dec 15)
· Website: The Klezmatics Official Site
· Album: Woody Guthrie's Happy Joyous Hanukkah (Vinyl Reissue out now)
Connect with Backstage Bay Area:
· Website: Backstagebayarea.com
· Instagram: @BackstageBayArea
· Host: Steven Roby
Episode Summary: In this episode of Backstage Bay Area, Steven Roby sits down with Grammy-nominated clarinetist and saxophonist Anat Cohen. Known for her expressive virtuosity and infectious charisma, Anat is bringing a massive milestone celebration to San Francisco.
We discuss her upcoming "50th Birthday Celebration" at SFJAZZ (December 11-12), a career-spanning residency featuring her intimate "Quartetinho" ensemble and her expansive 10-piece "Tentet." Anat opens up about growing up in a musical household in Tel Aviv, her "student for life" philosophy while pursuing a master’s degree in Rio de Janeiro, and the creative visualization behind her latest album, Bloom.
In This Episode, We Cover:
Featured Music:
Links & Resources:
Connect with Backstage Bay Area:
If you enjoyed this episode, please subscribe and leave a review!
Episode Summary: This week on Backstage Bay Area, host Steve Roby welcomes two-time Grammy Award-winning violinist Mads Tolling. Known for his work with the Turtle Island Quartet, Stanley Clarke, and Bob Weir, Mads is shifting gears this season to share a piece of his Danish childhood in San Francisco.
Mads takes us inside his project, Cool Yule: A Nordic Holiday Celebration, a "love letter" to his upbringing in Copenhagen. We explore the concept of "hygge," compare the structured traditions of a Danish Christmas with the chaotic energy of American holidays, and delve into the fascinating—and sometimes frightening—folklore of the North. From a rice pudding-eating gnome to a child-eating "Christmas Cat," Mads explains the stories behind the music. Plus, hear how he transforms an 1830s violin into a growling baritone instrument he calls "Uncle Scratchy."
In This Episode, We Discuss:
Featured Music:
Upcoming Live Show: Catch Mads Tolling & The Mads Men live for a special holiday engagement!
Resources & Links:
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 Croker
Music 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 SFJAZZ
Date: Saturday, November 29, 2025
Venue: 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.com
Download and explore Harmony Cloud (iOS app): https://www.stefonharris.com/harmony-cloud
SFJAZZ: https://www.sfjazz.org
Support & Follow Backstage Bay Area:
Website, show archive, and concert reviews: https://www.backstagebayarea.com
Follow 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.com
SFJAZZ 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 Visitors
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.
Upcoming show
Three Visitors: Edward Simon, Scott Colley & Brian Blade
Where: Joe Henderson Lab, SFJAZZ Center, San Francisco
When: 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-cd
Bandcamp: https://threevisitors.bandcamp.com/album/three-visitors
Episode Description
In this episode, Steven Roby talks with Bay Area trumpeter and composer Sarah Wilson about her luminous new album Incandescence and the creative path that led her from political puppet theater to leading an all-woman horn line in a brass-forward Bay Area ensemble. Wilson explains how visual art, community-based performance, and New Orleans street energy shaped the music on Incandescence, and why she wants audiences to experience the album as one immersive arc at her upcoming Berkeley show.
· Growing up in Healdsburg and finding the trumpet again after college
· How work in political/activist theater shaped her sense of rhythm and movement
· Writing music in response to visual art, especially painter Thomas Reinhold
· Building the Incandescence band: Kasey Knudsen (alto sax), Mara Fox (trombone), John Schott (guitar), Lisa Mezzacappa (bass), Jason Levis (drums)
· Why she wanted an all-woman horn line for this project
· The story behind the piece “Architecture in Space”
· What audiences can expect at The Back Room album-release show
· How joy and a sense of time-suspension are at the center of her music
Sarah Wilson – Incandescence album release
The Back Room, 1984 Bonita Ave., Berkeley, CA
Saturday, November 8
8:00 p.m. (doors 7:30 p.m.)
Tickets and venue info: https://backroommusic.com
Sarah Wilson’s official site: https://sarahwilsonmusic.com
Music and releases (including Incandescence): https://sarahwilson.bandcamp.com
Follow her on her website for social media updates.
Backstage Bay Area is a Bay Area music journalism podcast hosted by Steven Roby, featuring conversations with the artists shaping our region’s jazz, roots, and creative music scenes. Subscribe on Apple Podcasts, Spotify, and YouTube, and help support Bay Area live music by sharing the episode.
Episode Summary
Executive Director and co‑founder of SFCM’s Roots, Jazz & American Music (RJAM) program, Jason Hainsworth, joins Steve to talk about how the Side‑By‑Side model turns the Joe Henderson Lab into a working classroom. We explore mentorship in real time, why original student music matters, and what audiences can expect from RJAM’s *Side‑By‑Side: New Visions* performance at the Lab.
Guest
Jason Hainsworth — Executive Director & Co‑Founder, RJAM (San Francisco Conservatory of Music)
What You’ll Hear
· How RJAM prepares young improvisers for a professional life on and off the bandstand.
· How the SFCM–SFJAZZ partnership gives students meaningful access to world‑class artists and stages.
· What the *Side‑By‑Side* format looks like on stage: mixed student–faculty ensembles, quick turnarounds, and plenty of room for improvisation.
· Two original student works discussed on the show: “Rebecca” by Xitlalli Estrella and “Warlike” by Alan Jones.
· Where and when to catch free SFCM concerts across the academic year.
Suggested Timestamps (approx.)
· 00:00 | Intro and episode setup
· 01:10 | What RJAM offers promising students
· 05:30 | SFCM × SFJAZZ partnership and Lab culture
· 10:10 | Inside the *Side‑By‑Side* format
· 14:00 | Student track spotlight: “Rebecca” (Xitlalli Estrella)
· 18:30 | Student track spotlight: “Warlike” (Alan Jones)
· 23:00 | SFCM concerts open to the public
· 26:00 | What to expect on show night
· 27:30 | Closing thoughts
Pull Quote
“Performing alongside mentors is unmatched for learning— from preparing rehearsals to shaping ideas with the band you’re in.” — Jason Hainsworth.
Music Notes
If excerpts of “Rebecca” (Xitlalli Estrella) and “Warlike” (Alan Jones) are used, they appear courtesy of the artists and the RJAM program. All rights are reserved by the respective creators.
Links & Info
Tickets: RJAM *Side‑By‑Side: New Visions* — Friday, November 14, 7:30 p.m., Joe Henderson Lab, SFJAZZ Center.
https://www.sfjazz.org/tickets/productions/25-26/rjam-side-by-side-new-visions/
Venue Notes
Joe Henderson Lab is located within the SFJAZZ Center (San Francisco). Please check the ticket page for updated door times and policies.
More from SFCM
RJAM and SFCM present hundreds of concerts during the academic year—many free and open to the public—including chamber music, jazz combos, and student recitals across SFCM venues.
Credits
Host & Producer: Steve Roby
Show: Backstage Bay Area — your all‑access pass to the local music scene.
Interview guest: Jason Hainsworth
Production: BackstageBayArea.com
Enjoying the show?
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Episode summary
Music 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 next
Guest
Chris 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.
Credits
Host/Producer: Steve Roby — Backstage Bay Area
Guest: Chris Potter
Music: Excerpts as permitted by rights holders
Recording: SFJAZZ Collective sessions & interview
Links & tickets
Event: SFJAZZ Collective — Tribute to Wayne Shorter’s Native Dancer
Venue: 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
Episode logline:
Saxophonist—and bassist—Gerald Albright talks origin stories, the punch and polish behind “Living My Best Life,” why the title cut “Full Throttle” opens up onstage, and what listeners can expect when his band hits Oakland.
About our guest
A pillar of contemporary jazz with decades of touring and studio work, Gerald Albright writes and produces with a rhythm-section mindset. He came up on saxophone in South Central Los Angeles, later added bass guitar, and now releases music independently on Bright Music Records. That hybrid vantage shapes sets built on pulse, melody, and forward motion.
What we cover
· Origins & influences. How a church-lesson pivot put a sax in his hands—“I immediately fell in love with the saxophone”—and why Maceo Parker’s clarity and percussive bite became a lifelong model.
· Hearing from two chairs. The bass guitar changed how he writes and locks the pocket: “Now I’m in the rhythm section, where there’s the meat and potatoes of the groove… I combine the two to create the best music I can.”
· Studio craft → stage energy. The gleam and stacked-horn sound of “Living My Best Life” grew from pandemic-era time in the studio: “I learned how to mix my own records… I like to put the horns right up front.”
· Why “Full Throttle” stretches live. “I wanted the freedom to really stretch out and play… When we play it live, we really get to go full throttle.”
· What fans can look forward to. A high-energy, audience-involved night that blends burners and love songs, drawn from a catalog spanning 20-plus projects.
· What’s next. A new, as-yet-untitled EP in the mixing stage—“the music is coming out phenomenal”—with touring to follow.
Featured tracks (discussed in this episode)
· “Living My Best Life” — stacked horn writing, sleek rhythm bed, and the producer’s ear for space.
· “Full Throttle” — title track from G-Stream 3 – Full Throttle, built for improvisation when the band opens it up on stage.
The band on these dates
Anthony Brown, Jr. (bass), Colin “CC” Clawson (keyboards), and James “JRob” Roberson (musical director, drums).
Memorable quotes
· “I immediately fell in love with the saxophone.”
· “The bass chair put me where the meat and potatoes of the groove live.”
· “I like the horns right up front—that’s the sound!”
Listen for
· How Albright connects Maceo Parker’s articulation to his own attack.
· The way a bassist’s perspective shapes phrasing, form, and set flow.
· Why new independent releases keep his horn stacks, mixes, and repertoire exactly as he envisions them.
Links & info
Tickets: Yoshi’s Oakland — https://yoshis.com/events/buy-tickets/gerald-albright-10/detail
Gerald Albright — Official site: https://geraldalbright.com/
Credits
Host: Steve Roby — Backstage Bay Area.
Production: Backstage Bay Area Audio.
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 Lab
Caity Gyorgy — vocals
Mark Limacher — piano
Thomas Heinbach — bass
Aroma Jr. — drums
About the guest
A 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.
Credits
Host & production: Steve Roby / Backstage Bay Area
Editing & mix: Backstage Bay Area
Music excerpts: courtesy of the artist
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Show Info & Links
Event: Caity Gyorgy — Joe Henderson Lab (SFJAZZ Center), San Francisco
Dates: Nov 7–9, 2025
Set 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 page
Artist website: CaityGyorgy.com
Episode Summary
Hector 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 band
The sonic palette: jarana, requinto, leona, Afro-Colombian percussion, Indigenous drums, and tasteful electronics
Writing from lived experience: poems that become songs and stage narratives
Hasta La Muerte onstage: five dancers, four musicians, vivid visuals, and storytelling through music and movement
Reimagining icons: La Catrina as La Santa de los Muertos; a compassionate retelling of La Llorona
Why audience participation matters: “come in costume,” sing, and dance—treat the hall like a plaza
Limited-run vinyl at the merch table (cast and crew-signed)
What’s next for the production beyond the West Coast
Hasta La Muerte — Las Cafeteras
Date: Friday, October 31
Venue: Miner Auditorium, SFJAZZ Center, 201 Franklin St., San Francisco
Showtime: 7:30 PM PT • Tickets via SFJAZZ. sfjazz.org
Las Cafeteras (official): https://lascafeteras.com
Hasta La Muerte (about): https://lascafeteras.com/hasta-la-muerte
Las Cafeteras on Instagram: https://instagram.com/lascafeteras
Tickets (SFJAZZ): https://www.sfjazz.org/tickets/productions/25-26/las-cafeteras-hasta-la-muerte/ sfjazz.org
Backstage 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 instrumentation
Host & Producer: Steve Roby — Backstage Bay Area
Guest: Hector Flores (Las Cafeteras)
Editing/Mix: Backstage Bay Area
Music 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
Podcast: Backstage Bay Area
Host: Steve Roby
Guests: Nicolas Bearde (vocals) with special guest Tammy L. Hall (piano)
Bay Area vocalist Nicolas Bearde joins Backstage Bay Area to talk about his Al Jarreau celebration at the Joe Henderson Lab. We trace his path from early R&B roots and Motown radio to a mature jazz voice shaped onstage with Bobby McFerrin—and how that journey informs a show that treats Jarreau’s music as a living language. Nicolas shares insights on two signature tracks from his catalog, the art of collaboration, and what listeners can expect from this intimate, groove-forward tribute.
· Finding the seam between soul storytelling and jazz improvisation
· Lessons from performing with Bobby McFerrin and Voicestra
· The singers who shaped Nicolas’s sound (Lou Rawls, Sarah Vaughan, Ella, Johnny Mathis—and, of course, Al Jarreau)
· Song spotlight #1: “Can We Pretend” (*Crossing the Line*)—why it remains a fan favorite worldwide
· Song spotlight #2: “Falling in Love Again” (*Visions*)—seven years in the making and finished with producer Larry Batiste
· Building the Jarreau set with Tammy L. Hall and band (Kevin Goldberg, Deszon Claiborne, Charles McNeal, Roberta Laurel)
· The emotional core of the show: “Not Like This” into “More Love,” plus the ongoing challenge and joy of “Spain”
· What’s next: a new studio album in progress for early 2026 (working title: SEVYNI)
· Nicolas Bearde — vocals
· Tammy L. Hall — piano (music director)
· Kevin Goldberg — bass
· Deszon Claiborne — drums
· Charles McNeal — saxophone
· Roberta Laurel — vocals (harmonies/duets)
Venue: Joe Henderson Lab at the SFJAZZ Center
Dates & Times:
· Sat, Nov 8, 2025 — 7:00 PM & 8:30 PM
· Sun, Nov 9, 2025 — 6:00 PM & 7:30 PM
Tickets: https://www.sfjazz.org
Artist Website: https://www.nicolasbearde.com
Backstage Bay Area: https://www.backstagebayarea.com
Subscribe and rate the podcast wherever you listen.
Share this episode with a friend who loves Al Jarreau’s music.
Produced and edited by Steve Roby for Backstage Bay Area.
Music excerpts used with respect for the artists and venues featured.
Episode overview
KCSM 91.1 FM has been a lifeline for Bay Area jazz for six decades. Station Manager Dr. Robert Franklin joins Steve to talk about the station’s live-curated sound, its massive library and preservation work, and the new documentary celebrating KCSM’s history and community impact.
Dr. Robert “Bob” Franklin — Station Manager, KCSM 91.1 FM; Executive Producer of KCSM: 60 Years of Broadcasting and Jazz.
KCSM is one of the nation’s last full-time jazz stations. Its curator-driven programming, archival footprint, and education mission make it a cornerstone of Bay Area music culture.
· How KCSM’s “live curator” model builds a real-time bond with listeners.
· Inside the library: scope, preservation, and digitization efforts.
· The documentary’s purpose—putting faces to the voices and placing KCSM within Bay Area cultural history.
· Student pathways via College of San Mateo and Studio 91.
· KCSM’s community compact: listener support, local artist visibility, and freedom on the air.
· What “keeping jazz alive on Bay Area radio” looks like over the next decade.
Host & Producer: Steve Roby
Show: Backstage Bay Area
Contact: backstagebayarea.com
Screening Information
Event: KCSM: 60 Years of Broadcasting and Jazz (documentary screening)
Venue: Alameda Cinema, 2317 Central Ave., Alameda
Date & Time: Friday, November 1, 2:00 PM
Extras: Post-film reception with refreshments; live DJ set by KCSM’s Harry Duncan; tours of the California Historical Radio Society’s vintage radios, historic studios, and hands-on broadcasting exhibits.
Tickets & info: https://californiahistoricalradio.com/event/kcsm-documentary-screening-at-alameda-theater/
Listen & support KCSM: https://www.kcsm.org