Songs & Stories

Take 6 Still Spreads the Love After Four Decades

Show Notes: Host Steve Roby sits down with Claude McKnight, founding member of the legendary a cappella group Take 6, ahead of their four-night residency at SFJAZZ. With 10 Grammy Awards, 10 Dove Awards, and a spot in the Gospel Music Hall of Fame, Take 6 has spent more than four decades redefining what the human voice can do. Highlights: Origins at Oakwood College — Claude shares how what started as a casual barbershop quartet grew into a septet, unlocking the richer jazz harmonies that would become Take 6's signature sound. The moment they knew it was special — The infamous bathroom rehearsal story: when arranger Mark Kibble walked in and added a fifth part, everything changed. "Spread Love" turns 40 — Claude reflects on why their most beloved song still resonates: it was the first thing most fans ever heard from them, and it captured everything Take 6 set out to be. Rhapsody: a new jazz standards album — Claude previews the group's forthcoming record, featuring collaborations with Snarky Puppy, Dirty Loops, drummer J.R. Robinson, and trumpeter Chris Botti, plus an inventive take on Dave Brubeck's Take Five. Expect a single soon, with the full album arriving after the new year. Every night is different — On the joy of unscripted performance and what keeps Take 6 fresh after four-plus decades on stage. All music used in this episode was supplied by the artist or their management and used with their permission. See Take 6 Live at SFJAZZ Miner Auditorium, San Francisco, August 13–16Thu–Sat at 7:30 PM | Sun at 7:00 PM 🎟 Tickets and info: sfjazz.org

Steven Bernstein’s Gumbo Homecoming

Steven Bernstein, the Berkeley-born trumpeter, composer, and bandleader, joins host Steve Roby for a wide-ranging conversation about five decades of musical exploration, his upcoming SFJAZZ residency, and two new companion albums that reimagine the same music through entirely different sonic lenses. What We Talk About Growing up in Berkeley during the '60s and '70s — how the city's unique musical culture, the Keystone Corner jazz scene, and a school improvisation program shaped Bernstein's musical identity Why funk — not rock — was the lingua franca of Bay Area youth, and how Tower of Power loomed larger than The Beatles in that world Arriving in New York in 1979 at the dawn of the punk-funk era (Defunkt, James White and the Blacks), and finding his musical home in the downtown scene The origin story of Sexmob — born not in rehearsals but in late-night residencies at the Knitting Factory and Tonic, playing for live audiences and letting their reactions shape the music Resonation Trio and Ultra Resonance — two albums built from the same source material, one an acoustic trumpet trio, the other a full dub reimagining by producer Scotty Hard. Bernstein traces the idea back to first hearing Burning Spear's Garvey's Ghost and his lifelong love of surrealism and the magic realism of Borges and Cortázar Touring with Laurie Anderson and how Sexmob became one of her closest musical ensembles — and what makes "Church of Panic" a perfect example of the band's instinctive, arrangement-free approach A deep dive into Banacek from The Hard Way — how Julius Hemphill's Dogon A.D. still echoes in Bernstein's playing, and the enduring musical partnership with John Medeski The SFJAZZ residency: Sexmob Does The Bay — why Bernstein split the run into two nights of Bay Area psychedelic rock (with guitarist Liberty Ellman) and two nights of classic Latin soul (with percussionist John Santos) The Santana connection, the Afro-Latin heartbeat of Berkeley, and the gumbo culture that made Bay Area music unlike anywhere else A surprise detour into Jimi Hendrix's brief Berkeley childhood — and a hint that a Hendrix project may be next on Bernstein's list Music Featured "Church of Panic" — Laurie Anderson (with Sex Mob) "Banacek" — Sex Mob & Scotty Hard (The Hard Way) All music was supplied by the artist and used with their permission. Show Details Artist: Steven Bernstein’s Sexmob Venue: Joe Henderson Lab, SFJAZZ Center Date: July 16–19, 2026 (2026 SFJAZZ Summer Sessions) Shows: Thu, July 16 & Fri, July 17 — Bay Area Psychedelic Rock, with Liberty Ellman; Sat, July 18 & Sun, July 19 — Classic Latin Soul, with John Santos. Showtimes: Thu–Sat 7:00 & 8:30 PM, Sun 6:00 & 7:30 PM. Tickets: sfjazz.org

John Beasley From Invisible Piano to Unlimited Miles

Pianist, composer, and arranger John Beasley joins host Steve Roby for an in-depth discussion about his extraordinary career, his new album Invisible Piano, and an upcoming all-star Miles Davis centennial tribute concert in San Francisco. Beasley explores his musical roots — from a household full of musicians to early influences like The Beatles, Thad Jones/Mel Lewis, and Quincy Jones — and reflects on his journey through jazz, film, television, and large ensemble composition. He talks about how a trip to a Stuttgart art gallery, and the surrealist paintings of Max Ernst inspired the creative process behind Invisible Piano, recorded with Germany's SWR Big Band. The album includes five original compositions and two new arrangements, such as a deeply personal rendition of James Taylor's "Fire and Rain." John also previews ‘Unlimited Miles: Miles Davis at 100,’ an all-star jazz centennial celebration at the Presidio Theater in San Francisco on May 14, featuring Kurt Rosenwinkel, Mark Turner, Sean Jones, Terry Gully, and Ben Williams. Music featured in this episode: “Fire and Rain” — arranged and performed by John Beasley (from Invisible Piano) “Invisible Piano” (title track) — John Beasley with the SWR Big Band (from Invisible Piano) Music provided by John Beasley and used with his permission. Links: John Beasley: johnbeasleymusic.com Tickets for Unlimited Miles at the Presidio Theater (May 14th): presidiotheatre.org/shows Backstage Bay Area: backstagebayarea.com

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Resilience, Roots, and the Road Ahead: A Conversation with David Weiss

Jazz trumpeter and composer David Weiss joins host Steve Roby for a wide-ranging conversation about a life built on music. From his early days in Queens, where he absorbed hard rock, fusion, and European avant-garde sounds, to leading some of contemporary jazz's most distinctive ensembles, Weiss reflects on the organic path that brought him to where he is today. We dig into his latest album, Auteur (Origin Records) — a title he half-jokingly suggests should end with a question mark — and explore what it means to maintain a recognizable musical identity across multiple projects. David shares the stories behind two tracks from the album: "Resilience," a tribute to pianist George Cables, and "The Other Side of the Mountain," inspired by Ron Carter's reflections on perseverance and a Martin Luther King speech on the long arc of progress. David also opens up about The Cookers — his hard-bop supergroup approaching its 20th year — the recent Kennedy Center cancellation amid the current political climate, and the challenge of keeping a band together when the musicians you love most are in their 80s and still outplaying everyone in the room. The conversation ends with a look ahead to the David Weiss Sextet's upcoming five-city West Coast tour, featuring two sets at SF Jazz's Joe Henderson Lab in San Francisco. Songs Featured in This Episode: “Resilience” — David Weiss Sextet (Auteur, Origin Records) “The Other Side of the Mountain” — David Weiss Sextet (Auteur, Origin Records) *Both songs are from the album Auteur and were provided by the artist and used with their permission. Show Details 🎷 Backstage Bay Area Host: Steve Roby Upcoming Show: David Weiss Sextet 📍 SF Jazz – Joe Henderson Lab, San Francisco, CA 📅 Sunday, May 17th 🕕 Two sets: 6:00 PM & 7:30 PM 🎟 Tickets: sfjazz.org Pro tip: Open seating — arrive early for the best seats. David Weiss Sextet Members: EJ Strickland | Myron Walden | David Bryant | Eric Wheeler | Ben Solomon | David Weiss Album: Auteur — Out now on Origin Records

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Sweden's Queen of Swing Comes to SF Jazz

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 15 The philosophy behind her multi-instrument performances and the influence of Rahsaan Roland Kirk What "Jazz is My Lifestyle" means as a personal and artistic statement Writing I'll Wait for You in San Francisco during the pandemic lockdown in the Bay Area Her 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 📅Friday, May 23 — Shows at 7:00 PM & 8:30 PM 📅 Saturday, May 24 — Shows at 6:00 PM & 7:30 PM Joe Henderson Lab is open seating — arrive early for a front-row spot! 🎟 Tickets and info: SFJAZZ.org 🌐 More on Gunhild Carling, including tour dates and music: gunhildcarling.net Backstage Bay Area is hosted by Steve Roby.

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Marcus Shelby Celebrates Miles Davis

Episode Summary Host Steve Roby sits down with Bay Area bassist, composer, and bandleader Marcus Shelby to discuss his upcoming SF Jazz performance, a tribute to Miles Davis's landmark 1949–50 sessions, later released as Birth of the Cool. Marcus reflects on his journey with the music, the genius of Gil Evans's orchestrations, and what it means to bring this rarely performed repertoire back to life with his new orchestra. About Marcus Shelby Marcus Shelby has spent more than two decades creating large-scale jazz works rooted in history and community — oratorios and suites that trace the Port Chicago Mutiny, Harriet Tubman's journey, and the Civil Rights Movement. Now he turns his attention to a different kind of history: the 11 tracks Miles Davis and his nonet recorded that became Birth of the Cool. What We Talk About How Marcus approaches composition — researching, traveling, and even "method acting" into the stories he tells through music His unconventional path into jazz: a post-basketball-career pivot in his early twenties that led him straight to Miles Davis Why Birth of the Cool was actually the last Miles Davis music to click for him — and why that makes sense The specific genius of Gil Evans and the unusual instrumentation of the nonet (alto, baritone, trumpet, French horn, trombone, tuba, rhythm section) and how those combinations create something unrepeatable A deep dive into two featured tracks: Boplicity — the most purely Gil Evans track on the record — and the luminous Moonbeams, and what each demands of the musicians who play it Rising trumpet star Skyler Tang (a Bay Area native now at The New School in New York), who has been commissioned to rearrange Deception for the concert Marcus's original composition Monk in the City, written for the same instrumentation as the Birth of the Cool nonet What a live performance offers that a studio recording cannot — the interpretive choices, the improvisational voice of each soloist, the acoustic magic of SF Jazz's Miner Auditorium Marcus's wider work as Artistic Director of Healdsburg Jazz (now in his sixth year), his long relationships with SF Jazz, Yerba Buena Gardens Festival, Stanford Jazz, and Community Living Jazz Featured Music Boplicity — Miles Davis Moonbeams — Miles Davis All music in this episode is used under fair use for educational commentary, with all rights retained by the original creators. Upcoming Performance Marcus Shelby New Orchestra: Miles at 100 — Birth of the Cool Revisited 📅 Sunday, May 10th 📍 Miner Auditorium, SF Jazz — San Francisco, CA 🎟 Tickets & info: sfjazz.org Links & Resources Marcus Shelby: marcusshelby.com Healdsburg Jazz: healdsburgjazz.org Backstage Bay Area is a podcast about the music and musicians of the San Francisco Bay Area. New episodes drop regularly. Subscribe wherever you listen to podcasts.

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Daniel Ho’s Many Roads to SFJAZZ

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 Ho SFJAZZ Joe Henderson Lab Saturday, May 2, 2026 7:00 p.m. and 8:30 p.m. Links: Daniel Ho: danielho.com Tickets: SFJAZZ Backstage Bay Area: backstagebayarea.com

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Aaron Diehl Finds the Space Between

Show Notes Pianist Aaron Diehl joins Backstage Bay Area to discuss the early musical influences that shaped his voice, his deep connection to Mary Lou Williams, and his work bringing her Zodiac Suite back into focus. He also reflects on trio interplay, the role of patience in improvisation, and what makes a room like SFJAZZ Center such a compelling space to perform. This episode features two tracks: “Scorpio” from Diehl’s recording of Zodiac Suite, and “Polaris” from The Vagabond. Both songs were provided by the artist and are used with permission. In this episode: Early influences and musical beginnings in Columbus, Ohio Discovering the music of Mary Lou Williams Reconstructing and recording Zodiac Suite with The Knights The art of listening and empathy in a trio setting Writing and performing original compositions What audiences can expect at SFJAZZ Featured Music: “Scorpio” — from Zodiac Suite “Polaris” — from The Vagabond Live at SFJAZZ Aaron Diehl performs with bassist David Wong and drummer Aaron Kimmel on Sunday, April 26, 2026, at 7:00 PMat the SFJAZZ Center’s Miner Auditorium in San Francisco. 🎟 Tickets and full details: https://www.sfjazz.org/tickets/

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Lynne Arriale Brings Her Trio to Oakland

Show Notes: On this episode of Backstage Bay Area, Steve Roby speaks with pianist and composer Lynne Arriale about her latest album, Being Human, and the ideas behind music shaped by hope, resilience, and shared human feeling. Arriale reflects on her early musical path, from playing songs by ear on a toy piano to discovering jazz through the freedom of improvisation. She also discusses the inspiration behind Being Human, a suite of original compositions written in response to division and turmoil, with pieces centered on qualities such as passion, courage, love, faith, and joy. In the conversation, Arriale discusses two of the album’s featured pieces, “Passion” and “Joy,” and explains how she tries to translate emotional and human qualities into music. She also speaks about what music can express when words fall short and what she hopes listeners take away from a live performance. The songs featured in this podcast, “Passion” and “Joy,” were provided by the artist and used with the artist’s permission. Lynne also previews her upcoming Bay Area appearance with the Lynne Arriale Trio at Piedmont Piano Company in Oakland, where she’ll perform music from Being Human alongside new compositions. Upcoming Show: Lynne Arriale Trio Saturday, April 25, 2026 5:30 p.m. Piedmont Piano Company 1728 San Pablo Avenue, Oakland Tickets and details: Piedmont Piano Company

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Instant Alter Brings Future Fusion to SFJAZZ

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.com Tickets: SFJAZZ Backstage Bay Area: backstagebayarea.com

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Ben Wendel on Improvisation and Yoshi’s

Show Notes In this episode, host Steve Roby sits down with saxophonist, composer, and producer Ben Wendell — one of modern jazz's most distinctive voices. Born in Vancouver, raised in Los Angeles, and now based in Brooklyn, Ben has built a wide-ranging career as a bandleader, collaborator, and composer. A founding member of Knee Body, he has also worked alongside Bill Frisell, Terrence Blanchard, Gerald Clayton, Taylor Eigsti, and many others. Ben shares the story of how he fell in love with the saxophone in high school, how jazz became his musical "meta language," and why composition — which he describes as "improvising in slow motion" — has become central to his artistic identity. He also talks about his electroacoustic approach, the deep musical telepathy that comes from decades of collaboration, and what Bay Area audiences can expect when his quartet takes the stage at Yoshi's in Oakland. Songs Featured: "On the Trail" – from Understory: Live at the Village Vanguard "Wanderers" (feat. Terrence Blanchard) – from All One All music supplied by the artist and used with permission. Ben Wendell Quartet at Yoshi's – Oakland Monday, April 20th | Doors 7:00 PM | Show 7:30 PM Featuring: Nate Wood (drums), Harish Raghavan (bass), Taylor Eigsti (piano) Important Links: Ben Wendell: https://www.benwendel.com Tickets: https://yoshis.com Backstage Bay Area: https://www.backstagebayarea.com

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T.K. Blue Brings Randy Weston's African Rhythms to SFJAZZ

Show Notes Saxophonist, 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 Continue Music provided by TK Blue and used with his permission. 🎷 See TK Blue & The African Rhythms Alumni Ensemble Live: SFJAZZ – Joe Henderson Lab, San Francisco Centennial Tribute to Randy Weston April 10–12, 2025 Friday & Saturday: 7:00 PM & 8:30 PM Sunday: 6:00 PM & 7:30 PM 🎟️ Tickets: https://www.sfjazz.org/tickets/productions/25-26/african-rhythms-alumni-ensemble/ Museum of the African Diaspora (MOAD) – FREE Event Saturday, April 11 at 1:00 PM 🔗 https://www.moadsf.org/event/moad-sfjazz-present-african-rhythms-alumni-quintet

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August Lee Stevens at the Lab

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 background How folk, soul, and jazz come together in her songwriting The story and emotional spark behind “Tell Me” The family inspiration behind “Citrus” What audiences can expect from her Joe Henderson Lab shows The 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 link Photo credit: Ariel Nava

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Vince Wilburn Jr. on Miles Davis, SFJAZZ, and the Miles Electric Band

Podcast Show Notes Episode Title: Vince Wilburn Jr. on Miles Davis, SFJAZZ, and the Miles Electric Band In 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 conceived Why Vince wanted the series to reflect multiple eras of Miles’s career What made the Miles Electric Band the right way to close the week Vince’s memories of Miles as a listener, bandleader, and creative force Why Miles’s music still feels alive, current, and unfinished in the best sense Wilburn 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.

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Monty Alexander Hears One Word: 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 Kingston Learning music by ear Seeing Louis Armstrong as a boy Why he hears all styles as one musical language Spontaneity, groove, and joy in performance What to expect at SFJAZZ SFJAZZ show details: Monty Alexander Trio Sunday, March 29, 2026 7:00 PM Miner Auditorium, SFJAZZ Center, San Francisco

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Lakecia Benjamin Keeps the Flame Burnin’

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 Dream The spirit and sound of “Flamekeeper” Working with Hiromi and Chris Potter Why collaboration matters in her music Who’s joining her on stage at SFJAZZ What audiences can look forward to at the UpSwing show SFJAZZ show details: Lakecia Benjamin / Pasquale Grasso Trio Saturday, March 28, 2026 7:30 PM Miner 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 Leitzell Music in this episode was provided by and used with the permission of the artist.

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Lenny White On Miles Davis's Lessons

Show Notes Drummer 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 metaphor What Miles taught by silence, withholding, and redirection Why Kind of Blue isn't the whole picture The difference between how music was made then vs. now — and why it matters for students Teaching the Miles Davis aesthetic at NYU and The New School What 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.org Lenny White at NYU Steinhardt Backstage Bay Area is hosted by Steve Roby. Subscribe, rate, and review wherever you listen to podcasts.

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Eddie Henderson Carries Miles Davis Forward

In this episode of Backstage Bay Area, host Steve Roby interviews Dr. Eddie Henderson — a trumpet master, bandleader, and one of the few remaining links to Miles Davis's world. Born in San Francisco, Henderson's musical career started at 17 when Miles Davis stayed at his parents' house (his stepfather was Miles' doctor), introduced him to the legendary quintet, and ignited a lifelong love for jazz. Henderson shares remarkable personal stories: witnessing the Kind of Blue repertoire live with Coltrane, Cannonball Adderley, and Philly Joe Jones; receiving direct advice from Miles to "get your own sound"; and the unforgettable moment he silenced Miles by dropping the name Freddie Webster. He also opens up about his time with Herbie Hancock's Mwandishi band, his years playing alongside Art Blakey, and his current role as a trumpet instructor at Oberlin Conservatory. The conversation looks ahead to Eddie's upcoming performance at SF Jazz's Miles Davis Centennial Tribute at Miner Auditorium in San Francisco on March 21, where he'll lead a group performing the complete ‘Kind of Blue’ album alongside drummer Lenny White and saxophonist Javon Jackson — both of whom have their own deep connections to Miles. Topics covered: Meeting Miles Davis at age 17 and seeing the first live performance of the Kind of Blue repertoire Why Miles' music has endured — from modal jazz to Bitches Brew to hip hop Miles' philosophy: playing music vs. playing the instrument The famous "Freddie Webster" exchange and what it taught Henderson about finding your own voice Miles as housemate, mentor, and comedian Performing alongside Lenny White (Bitches Brew) and Javon Jackson at the SF Jazz tribute Teaching jazz at Oberlin and passing down the wisdom of Miles Links & Info: SF Jazz Miles Davis Tribute — Saturday, March 21st, Miner Auditorium, San Francisco Tickets: sfjazz.org (shows nearly sold out at time of recording) Backstage Bay Area is your inside look at the Bay Area jazz scene. Subscribe and leave us a review if you enjoyed this episode.

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Javon Jackson: From Dylan’s Poetry to Miles’ Precision

Show Notes: Host Steve Roby sits down with celebrated saxophonist Javon Jackson to explore two landmark projects: his new album Jackson Plays Dylan — a jazz reimagining of Bob Dylan's songbook — and his upcoming live tribute to Miles Davis's Kind of Blue at SF Jazz. Episode Highlights: Discovering Bob Dylan through jazz — How Art Blakey's attorney first introduced Javon to Dylan's catalog in his twenties, and why he heard the songs as jazz-friendly love poetry rather than folk or rock music A dual tribute to two poets — The story behind Jackson Plays Dylan, originally conceived with the late poet Nikki Giovanni, who planned to write new poetry and even reach out to Dylan himself before her passing in 2024. The album is dedicated to her memory. "Hurricane" — the single — Javon breaks down his soulful, boogaloo-inflected arrangement of Dylan's 1976 protest song about boxer Rubin "Hurricane" Carter, featuring Fender Rhodes and drummer Ryan Sands "Gotta Serve Somebody" — featuring Bay Area favorite Lisa Fisher The cross-fade concept — How each track on the album teases the next, creating a continuous listening experience Kind of Blue at SF Jazz — Javon discusses stepping into the role John Coltrane held on the original 1959 recording and what it means to honor that legacy without imitation Art Blakey's lesson — "Don't worry about Wayne Shorter — just be you." How that advice shapes Javon's approach to all tribute performances Miles Davis and the power of silence — Blakey's 200-words vs. 10-words parable as a way of understanding Miles's minimalist genius The all-star ensemble — Dr. Eddie Henderson (a Miles associate), Lenny White (Bitches Brew), Buster Williams, Donald Harrison, and Patrice Rushen Links: Javon Jackson: jevonjackson.com Kind of Blue Tribute at SF Jazz — Minor Auditorium, Saturday, March 21st Afternoon show: 4:00 PM | Evening show: 7:30 PM Tickets: sfjazz.org Jackson Plays Dylan — available now (singles: "Hurricane," "Gotta Serve Somebody") Backstage Bay Area hosted by Steve Roby Visit: https://www.backstagebayarea.com

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Flying High, Still Soaring: A Celebration of Jazz's Leading Ladies

In this special episode of Backstage Bay Area, host Steve Roby sits down with Suzanne Wadowski, founder and executive director of Jazz at the Ballroom and the Songbook Ink label, and Champian Fulton, pianist, vocalist, and musical director, to discuss their upcoming concert and new album celebrating the legendary female vocalists of the swing era and 1950s jazz. Episode Highlights: • The origins of Jazz at the Ballroom, which began as an intimate salon series in Suzanne's Hillsborough home—once owned by Bing Crosby—and grew into a nationwide concert series • How the album focuses on the pivotal 1950s shift when singers stepped away from big bands into smaller, more intimate musical settings • The importance of highlighting women not just as interpreters but as composers and architects of jazz, featuring songs like "Just for a Thrill" by pianist and composer Lil Harden Armstrong • A look at the high-energy track "Swing, Brother, Swing," originally recorded by Billie Holiday, performed by rising vocalist Tahira Clayton • The creative vision behind the March 15th concert at the historic Presidio Theater—a venue with deep roots in the era, where servicemen once gathered for live performances • The resilience and artistic integrity of female jazz pioneers who faced significant obstacles yet profoundly influenced popular music Featured Songs: "Just for a Thrill" "Swing, Brother, Swing" All music provided by the artists and used with their permission. Show Details: Experience Flying High, Still Soaring live at the Presidio Theater in San Francisco on Sunday, March 15th at 2:00 PM. Tickets: https://www.presidiotheatre.org/show-details/flying-high-still-soaring

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