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    <title>Upcoming: Events at Yoshi&#39;s</title>
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    <title>Jan  3, 2010: Tom, Dylan and Adam at Yoshi&#39;s</title>
    <description><![CDATA[Tom Luce, Ziva Hadar, Paul Manousos will be performing at Songwriter&#39;s Sunday Unplugged at Yoshi&#39;s in San Francisco.<br /><br />
LUCE began in 2000 as a one-man band when Tom Luce began writing songs in his bedroom in the foggy Richmond District of San Francisco. But it wasn&#39;t long before his self titled first CD gained immediate attention on Bay Area radio stations such as San Francisco’s KFOG.  The album&#39;s single, “Good Day” was soon picked up in Hollywood and appeared in movies such as How To Lose A Guy In 10 Days and 13 Going On 30, and television shows like The O.C. and Alias. In 2003, Luce earned the band the California Music Award for “Outstanding Debut Album.” And so the band took to the road, and toured the US playing alongside bands like Sixpence, None The Richer and Goo Goo Dolls.<br />
In the early spring of 2005, LUCE’s Sophmore album, Never Ending, was unveiled to a packed house filled with eager fans who welcomed the new music with open arms and plenty of excitement. Never Ending’s single, “Buy A Dog” found its way onto the USA Network’s Psych and the silver screen’s Frank, The Dog. In the fall of 2007, LUCE was awarded “Best Band You Should Know About” by San Francisco Magazine readers.<br />
Despite a stroke of bad luck in which Tom&#39;s house burnt to the ground and the band&#39;s tour van and trailer with all it&#39;s gear were stolen, the band continues to persevere in the face of those crushing setbacks. In 2008, LUCE attracted the attention of an exciting new Bay Area based record label, Opus Music Ventures, and at the top of this year, became one of it’s first signing bands. With the powerful force of the young energetic label, LUCE now has full service publicity, management, a tour support team and is about to release their much anticipated third album, Corner of the World, this Spring. It is sure to take the band to new and soaring heights.<br /><br />
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    <dc:creator>LuceBand</dc:creator>
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    <pubDate>Wed, 16 Dec 2009 14:07:31 -0700</pubDate>
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    <xCal:summary>Tom, Dylan and Adam</xCal:summary>
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      <xCal:x-calconnect-street>1330 Fillmore Street</xCal:x-calconnect-street>
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    <title>Jan 28, 2010: Blame Sally at Yoshi&#39;s</title>
    <description><![CDATA[January 28, 2010<br /><br />
8pm show $22 advance, $28 at-the-door<br /><br />
unique collective of four distinct voices and musical backgrounds, Blame Sally has forged a compelling and original sound that has earned the band the well-deserved reputation as Bay Area phenomenon. The San Francisco Chronicle raved that Blame Sally’s music recall(s) the artful romanticism of Jane Siberry, the rich folk harmonies of the Indigo Girls, and the percolating soulfulness of Joy of Cooking. Poised for greater national attention, they’ve performed for audiences across the US, sharing festival stages with the likes of Los Lobos, Ani DiFranco, Richard Thompson, Roseanne Cash and Greg Brown.<br /><br />
Pam Delgado, Jeri Jones, Renee Harcourt and Monica Pasqual hit their stride well after the first blush of youth, watching their audiences grow and their independently-released record sales balloon as they set their own career pace and direction.<br /><br />
In May, 2009 the band released Night of 1000 Stars, produced by Lee Townsend. As they have always done, Blame Sally uses personal and topical issues to fuel their powerful songwriting and jubilant ensemble musicianship. Whether through the anguished voice of an Afghan war veteran, the cancer survivor finding some humor in new age bromides or the woman who’s passion comes on like a summer thunderstorm, each track on Night of 1000 Stars is rich with authenticity and emotion.<br /><br />
Called a San Francisco Bay Area phenomenon, this powerhouse all female band is suddenly finding themselves more and more in the national spotlight. In the fall of 2008, they signed a three-year album recording contract with Bay Area Opus Music Ventures. The ink was barely dry on the contract before Blame Sally found themselves in a brand new, state-of-the-art recording studio and in the very capable hands of Grammy-nominated producer, Lee Townsend, (Bill Frisell, Louden Wainwright, Noe Venable, Crooked Still).<br /><br />
In 2007 Blame Sally reached an audience of millions through XM Satellite Radio’s Starbuck’s XM Café where the band’s previous album Severland charted at number one. Their anti-Bush/anti-war song and video, “If You Tell a Lie” is featured on Neil Young’s Living With War website where it was number 2 in downloads for six months.<br /><br />
Instrumentation<br />
Pam Delgado: Percussion, guitar, vocals<br />
Renee Harcourt: Guitar, bass, banjo, harmonica, vocals<br />
Jeri Jones: Guitar, bass, dobro, mandoline, vocals<br />
Monica Pasqual: piano, keys, accordion, melodica, vocals<br />
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    <dc:creator>Yoshis</dc:creator>
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    <pubDate>Mon, 14 Dec 2009 11:37:30 -0700</pubDate>
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    <xCal:summary>Blame Sally</xCal:summary>
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    <title>Jan 22, 2010: The Pharcyde with Live Band at Yoshi&#39;s</title>
    <description><![CDATA[Jan 22-Jan 23, 2010<br /><br />
Friday (10:30pm show) $30 advance, $35 at-the-door<br />
Saturday (11:59pm show) $30 advance, $35 at the door<br /><br />
An influential alternative rap quartet from South Central Los Angeles, the Pharcyde was formed by MCs/producers Tre &quot;Slimkid&quot; Hardson, Derrick &quot;Fatlip&quot; Stewart, Imani Wilcox, and Romye &quot;Booty Brown&quot; Robinson. Hardson, Wilcox, and Robinson were all dancers and choreographers who met on the L.A. underground club circuit in the late &#39;80s, worked together for a while, and served a stint as dancers on In Living Color. Stewart, meanwhile, performed at local clubs and eventually hooked up with the others in 1990. Under the tutelage of Reggie Andrews, a local high-school music teacher, the group learned about the music industry and the process of recording an album. They landed a deal with Delicious Vinyl in 1991, and a year later released their eccentric debut album, Bizarre Ride II the Pharcyde, which went gold. After support slots for De La Soul and A Tribe Called Quest as well as a successful spot on Lollapalooza&#39;s second stage in 1994, the group released its second album, Labcabincalifornia, which was calmer than their first but no less warped. After a five-year break which saw little action except for the debut of Stewart as a solo rapper (his single &quot;What&#39;s Up Fatlip&quot; became an underground hit), the Pharcyde returned in late 2000 with their third album, Plain Rap. The group fractured even more during the subsequent three years, leaving only two members -- Imani Wilcox and Bootie Brown -- to man 2004&#39;s Humboldt Beginnings. Steve Huey, All Music Guide<br />
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    <dc:creator>Yoshis</dc:creator>
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    <pubDate>Mon, 14 Dec 2009 11:35:45 -0700</pubDate>
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    <xCal:summary>The Pharcyde with Live Band</xCal:summary>
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    <title>Jan 29, 2010: Puerto Rico Golden Jazz All-Stars at Yoshi&#39;s</title>
    <description><![CDATA[Jan 29-Jan 31, 2010<br /><br />
Friday<br />
8pm show $24<br />
10pm show $16<br /><br />
Saturday<br />
8pm and 10pm show $24<br /><br />
Sunday<br />
5pm Matinee $5 (kids), $15 adult (with kid), $24 adult (general)<br />
7pm show $24<br /><br />
Puerto Rico Golden Jazz is an all-star line-up of some of the world’s best Afro-Latin jazz practitioners.  Headed by Grammy-winning pianist Eric Figueroa (Batacumbele), this outstanding line-up of latin music talent includes Endel Dueño (drums), Richie Flores (congas), Ramón Vasquez (bass) and special invited guest, Alfredo de la Fé (violin).  <br /><br />
Puerto Rico Golden Jazz, a musical concept from New York producer Leo Tizol, is a vehicle designed to showcase Afro-Latin jazz and the artists at the forefront of the art form.  The group stays fresh by rotating an array of celebrated musicians hailing from all parts of Caribbean, United States and beyond.  Up-and-coming and established Latin music greats converge, bringing forth one-of-a-kind musical experiences that showcase Latin music’s powerful African roots while also demonstrating the sophistication, depth and complexity of contemporary Latin jazz.<br />
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    <dc:creator>Yoshis</dc:creator>
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    <pubDate>Mon, 14 Dec 2009 11:31:26 -0700</pubDate>
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    <xCal:summary>Puerto Rico Golden Jazz All-Stars</xCal:summary>
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    <title>Jan 26, 2010: Alfredo Rodriguez at Yoshi&#39;s</title>
    <description><![CDATA[January 26, 2010<br /><br />
8pm show $14<br /><br />
In his first year since arriving in the United States, Alfredo Rodríguez has played to capacity crowds at the Playboy Jazz Festival, the SXSW Music Festival, the Detroit Jazz Festival, the Monterey Jazz Festival, the Newport Jazz Festival, and the San Francisco Jazz Festival. Both his New York and his Los Angeles club debuts sold out. Opening for Herbie Hancock and others, Alfredo played for 18,000 fans at the LA Symphony’s official welcome for Gustavo Dudamel at the Hollywood Bowl. He also happens to be working on his debut album with music producer Quincy Jones. It’s a lot given that he’s only been in the U.S. for a year, but the story of this 24-year-old is anything but ordinary. <br /><br />
Born in Havana, Cuba, Alfredo trained in the famous Manuel Saumell Elementary Classical Music Conservatory until his lucky break came in 2006 when he was selected as one of two Cubans to play at the prestigious Montreux Jazz Festival.<br /><br />
In Montreux, Alfredo was noticed by Quincy Jones. The two stayed in touch after the festival, but because of the problems between the U.S. and Cuba, they couldn’t work together. <br /><br />
For three years, Alfredo struggled with the difficult decision of whether to leave behind his home country and his family in pursuit of his dreams. On January 15, 2009, Alfredo, like so many Cubans before him, decided to defect from Cuba to pursue his music on the world stage. Obviously, it’s been tough for Alfredo to be away from home, but in his words “Everyone has a destiny. Mine is music. I decided to come here for better or for worse because of music and only for music. Of course I miss my family and my country, but I’m following my music, which is what I’ve done my whole life.”<br /><br />
Alfredo’s debut CD, will be released in Spring of 2010 on Qwest Records and his first European tour will be this coming Summer 2010. In the words of Quincy Jones, “He is very special and I do not say that easily because I have been surrounded by the best musicians in the world my entire life and he is one of the best.”<br />
]]></description>
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    <dc:creator>Yoshis</dc:creator>
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    <pubDate>Mon, 14 Dec 2009 11:28:40 -0700</pubDate>
    <dc:date>2009-12-14T11:28:40-07:00</dc:date>
    <xCal:summary>Alfredo Rodriguez</xCal:summary>
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    <title>Jan 14, 2010: Roy Hargrove&#39;s RH Factor at Yoshi&#39;s</title>
    <description><![CDATA[Jan 14-Jan 17, 2010<br /><br />
Thursday<br />
8pm show $28<br />
10pm show $20<br /><br />
Friday<br />
8pm show $32<br />
10pm show $24<br /><br />
Saturday<br />
8pm show $32<br />
10pm show $32<br /><br />
Sunday<br />
5pm matinee $5 Kids, $18 Adult (With Kid), $32 Adult (general)<br />
7pm show $32<br /><br />
At 36, trumpeter Roy Hargrove has firmly established himself as among the premier players in jazz and beyond. Ever-stretching into more challenging and colorful ways to flex his musical chops, Hargrove has left indelible imprints in a vast array of artful settings. During his tenure on the Verve label alone, he has recorded an album with a hand-picked collection of the world’s greatest tenor saxophonists (With the Tenors of Our Time), an album of standards with strings (Moment to Moment) and, in 2003, introduced his own hip hop/jazz collective The RH Factor with the groundbreaking CD Hard Groove (swiftly followed by the limited edition EP, Strength). Hargrove has also won Grammy® Awards for two vastly different projects. In 1997, Roy’s Cuban-based band Crisol (including piano legend Jesus “Chucho” Valdes and wonder drummer Horatio “El Negro” Hernandez) won the Best Latin Jazz Performance Grammy for the album Habana. And in 2002, Hargrove, Herbie Hancock and Michael Brecker won Best Instrumental Jazz Album, Individual or Group, for their three-way collaboration Directions in Music.<br /><br />
On XXXXXX, Hargrove will bring two of his musical worlds closer together with the simultaneous release of Distractions and Nothing Serious – all new recordings by both of Roy Hargrove’s touring ensembles. Distractions features the contemporary funk/jazz sounds of The RH Factor.  Nothing Serious features straight ahead jazz by The Roy Hargrove Quintet with special guest Slide Hampton on trombone. Verve A&amp;R executive Dahlia Ambach-Caplin explains, “When it came time to work on a new album, it became clear that Roy currently has two sides to his music. Choosing one over the other would not do him justice, so we went for both, approaching them as two separate projects. The quintet recorded in March of 2005 with 15-time GRAMMY award winning engineer Al Schmitt at Capitol Studios in Los Angeles, California. The RH Factor recorded later in May at Sausalito’s The Record Plant with engineer Russell Elevado.”<br /><br />
“I&#39;ve been doing more touring with RH Factor than my quintet lately,” Hargrove muses. “People are turning a deaf ear to jazz. Some of that is the fault of jazz musicians trying too hard to appear to be cerebral. They aren’t having fun playing the music and that&#39;s why people aren&#39;t coming to hear it live anymore.<br /><br />
What do we have to offer in the world of jazz today? It&#39;s about being innovative, which is cool. But innovation right now will come in music that&#39;s swinging and feels good. It&#39;s meaningless if it doesn&#39;t make you feel something.”<br /><br />
The bulk of the new 12-track RH Factor disc is inspired vocal ruminations. Most telling is the knee-deep funk of “A Place,” the hook of which poses the musical question, “If I take you to a place I love / If I change my style / Would you like it?” For the man who came to prominence in the jazz realm, these lyrics reflect the on-going challenge he has bridging the gap between the two styles of music that dominate his direction.  “My goal with RH Factor has always been to try to erase the lines between the mainstream and the underground - straight ahead and hip hop/R&amp;B. You have musicians who know all the theory and harmony. Then you have the musicians who have a direct line to the masses and what they like to hear. If you can combine the two, it can be something innovative as well.”<br /><br />
Other vocal numbers on the RH Factor disc include the feel-good track “Crazy Race” (in which some of Hargrove’s trumpet lines recall a melody from Earth, Wind &amp; Fire’s “Brazilian Rhyme”) and “Can’t Stop,” both uplifting messages about striving in the face of adversity. Singer/songwriter Renee’ Neufville, a former member of the female soul duo Zhane’ who has been performing with RH Factor for the last two years, wrote the laidback “On the One” (about missing an old lover), and co-wrote three others with Hargrove: the aforementioned “A Place,” the chill meditation “Family” and “Hold On,” which features vocals by none other than Roy himself, Renee’ and RHF drummer Jason “JT” Thomas. Commenting on his vocal feature on this album, Hargrove quips, “I sang on “I’ll Stay” from the first RH Factor album, but this is the first time I’ve sung several bars by myself.”<br /><br />
The man who sang with Roy on “I’ll Stay” was neo soul pioneer D’Angelo, who returns on the new album producing, writing, singing and signifyin’ on the fiery “Bull****.” “I guess he brought me a track he thought would be good for me to play over,” Roy states modestly. “He did the automation at the Record Plant in Sausalito. The band played along to what he programmed, he took it to L.A. to work on it some more, then sent it back to me in New York where I worked on it at Electric Lady Studios.” The song recalls old New Orleans as filtered through a funky haze of modern hip hop boom-bap. “‘D’ most definitely blessed me,” Roy concludes.  The remaining RH Factor tracks are groove interludes titled “Distractions” (1-4), plus the percolating psychedelics of the instrumental “Kansas City.”<br /><br />
Recalling the humorous origin of the latter, Hargrove begins, “I was playing a gig there with Directions in Music featuring Michael Brecker and Herbie Hancock and I always carry my portable studio with me. I wrote that in the hotel just after walking to get some fried chicken and Blue Bell ice cream, which they don&#39;t sell in New York. I used to OD on that stuff when I was living in Texas. When I got to KC and saw that they were selling it there, I was so happy, I went back to the hotel and wrote that song on the spot!”<br /><br />
Bringing all this RH Factor funk to life is a unique ensemble of Roy on trumpet, two saxophonists (Keith Anderson and the legendary David “Fathead” Newman), three keyboardists (Charles McCampbell, Bobby Sparks and Neufville), one guitarist (Todd Parsnow), two drummers (Jason “JT” Thomas and Willie Jones III), and - most amazingly - two bass players (Lenny Stalworth and Reggie Washington). “My regular bass player, Reggie, couldn&#39;t make the recording sessions at first,” Hargrove shares. “So I hired Lenny, a friend from Berklee, to do the record. But when Reggie heard about Lenny – not wanting him to creep in and take his gig - he was like ‘Wait a minute!’ I thought, ‘two bassists-two drummers - let&#39;s go!’” <br /><br />
Going with the flow – in more ways than one – has long been a hallmark of Hargrove’s approach. A major influence along those lines is sax man David “Fathead” Newman, a world class player and among the most fabled members of the late great Ray Charles’ band. It was an honor for Roy to have him in the band for this special RH Factor project. “Fathead was the first musician I ever saw improvise,” Hargrove remembers. “I was about 14 when he came to Oliver Wendell Holmes Middle School in Dallas. My band director, Dean Hill, was friends with ‘Fathead’ and invited him to the school. Fathead did a baritone solo over our tuba and drum sections playing (Herbie Hancock’s) “Chameleon”. He was making a whole lot of music without reading anything and I became very fascinated with that. It put me on the road to learning how to improvise.” <br /><br />
Where Roy describes the RH Factor disc Distractions as “coming more from my personal archives,” Nothing Serious featuring his jazz quintet is a completely different animal...and not just stylistically. “It&#39;s important with a straight ahead group for everyone to contribute,” Hargrove explains.   “Opening things up compositionally keeps the program well-rounded. And even when they&#39;re playing my tunes, everybody’s sound shapes the song.”  A key to this cohesiveness can be found in the title of the quintet disc’s fourth track: “Camaraderie.” “That tune is a vehicle for the band to play in a more avant garde way yet still keep it ‘in,’” Hargrove states. Breaking it down even further, he elaborates, “The title suggests togetherness, and a good group has to be very cohesive…everybody knowing where everyone else is breathing. That way if you decide to take the music ‘out,’ whatever happens remains musical. The song is organized chaos, all coming together within a minor blues.” “Camaraderie” also has the distinction of being inspired by the late trumpet great Lester Bowie, the forward thinking co-founder of the acclaimed Art Ensemble of Chicago. Roy recalls their meeting. “I was playing a jam session one night in Italy and Lester was there listening. I was playing all my bebop. He came up to me and said, ‘Man, take it out!’ I said, ‘What do you mean?’ He said, ‘Stop playing all that pretty stuff. Play something ugly!’ So I started playing less inside…screamin&#39;...makin’ a lot of noise. Lester lit up like, ‘Yeah!’ It was a lesson for me.”<br /><br />
The 8-song Roy Hargrove Quintet disc Nothing Serious moves from Roy’s breathtaking and sensual Flugelhorn ballad “Trust” and the enveloping warmth of “The Gift” to a fierce waltz time swinger “Salima’s Dance” (from the pen of pianist Ronnie Matthews), a relentlessly winding study in melody from bassist D’Wayne Burno evocatively titled “Devil Eyes,” and a whirl through the magical changes of Branislau Kaper’s “Invitation,” the set’s sole jazz standard. Rounding out the stellar quintet are alto saxophonist Justin Robinson (who also plays some lovely flute on “Trust”) and drummer Willie Jones III, the latter of whom has been playing in Hargrove’s groups for eight years. As a whole, this incarnation of the Roy Hargrove Quintet has been playing together for four years, the tightness of which is evident throughout the disc. The band perfected most of the material on the road before the recording.<br /><br />
One glowing exception is the lushly swingin’ “A Day in Vienna,” contributed by special guest Slide Hampton, a living giant of jazz. Roy cut his teeth with Hampton’s band in a trumpet section that included greats Jon Faddis and Claudio Roditi (documented on the Telarc Records CD Dedicated to Diz, a Slide Hampton &amp; The Jazz Masters set from `93 recorded live at the Village Vanguard). “Slide has been a big part of my education. I can&#39;t tell you know much playing charts from the original Dizzy Big Band book with that group helped me. The way that Slide arranges and voices, he knows how to take a small group of horns and make it sound like an orchestra.” Listen to Roy’s own “Trust” to hear that he learned Slide’s lessons well.<br /><br />
Roy Hargrove was born in Waco, TX on October 16, 1969. Inspired by the gospel music he heard in church on Sundays and the R&amp;B and funk music that played on the radio, Roy began learning the trumpet in the fourth grade. By junior high school, he was playing at an advanced level of proficiency.  At 16, he was studying music at Dallas&#39;s prestigious Booker T. Washington School for the Visual and Performing Arts.<br /><br />
Midway through his junior year, Roy was &quot;discovered&quot; by Wynton Marsalis, who was conducting a jazz clinic at the school. Impressed, Marsalis invited Roy to sit in with his band at Ft. Worth&#39;s Caravan of Dreams Performing Arts Center. Subsequently, Hargrove was able to return to the venue over a period of the next three months, sitting in with Dizzy Gillespie, Herbie Hancock, Freddie Hubbard and Bobby Hutcherson. Word of Roy’s talent reached Paul Ackett, founder and Director of The North Sea Jazz Festival who arranged for him to perform there that summer. This lead to a month long European Tour. <br /><br />
Hargrove spent one year (1988-1989) studying at Boston&#39;s Berklee School of Music, but could more often be found in NYC jam sessions, which resulted in his transferring to New York’s New School. His first recording in NYC was with the saxophonist Bobby Watson followed shortly by a session with the up-and-comers super group, Superblue featuring Watson, Mulgrew Miller and  Kenny Washington.  In 1990, he released his solo debut, Diamond in the Rough, on the Novus/RCA label, for which he would record a total of four albums that document his incubational growth as a “young lion” to watch. Hargrove made his Verve Records debut in 1994 on With the Tenors of Our Time, showcasing him with stellar sax men Joe Henderson, Stanley Turrentine, Johnny Griffin, Joshua Redman and Branford Marsalis. <br /><br />
Every album Roy has released on Verve has been different from the one preceding it. And the same can be said of the array of talents who have invited him to grace the stage and/or their recordings - from jazz legends Sonny Rollins and Jackie McLean to song stylists Natalie Cole, Diana Krall and Abbey Lincoln. From pop veterans Diana Ross, Steve Tyrell and Kenny Rankin to younger stars John Mayer and Rhian Benson to the crème de la crème of jazz divas: Carmen McRae and the late, great Shirley Horn. Hargrove was also commissioned by the Lincoln Jazz Center to compose the piece “The Love Suite: In Mahogany,” which was performed in 1993. He is also a superstar of the international touring scene with his quintet, RH Factor and as a soloist. <br /><br />
In 2005, he was a featured guest with Slide Hampton and the Dizzy Gillespie All Star Band in bi-coastal tributes to James Moody in honor of the saxophonists 80th birthday at Disney Hall in Los Angeles, the Kennedy Center in Washington, DC, and approximately 25 other concerts around the globe.  As RH Factor attests, Roy is also a product of the hip hop generation. He can be heard on a cover of rapper Method Man’s “All I Need” the album-opening track of producer Tony Joseph’s 2005 Verve project Def Jazz (instrumental interpretations of rap classics from the Def Jam label).<br /><br />
He has further ventured into the black pop mainstream as a collaborator with edgy soul star D&#39;Angelo  and guest appearances on albums by neo soul priestess Erykah Badu, thought-provoking rapper Common, and English acid jazz DJ/producer Gilles Peterson.<br /><br />
Touching back on the statement Roy made at the outset about the state of jazz and jazz audiences today, the music world would be hard pressed to find another ambassador capable of traversing the worlds of straight ahead swingin’ and the funky underground better than Brother Hargrove. The RH Factor’s Distractions and The Roy Hargrove Quintet’s Nothing Serious stand as the actual proof.<br />
]]></description>
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    <title>Jan 31, 2010: Catherine Feeny at Yoshi&#39;s</title>
    <description><![CDATA[Catherine recently moved to Portland, Oregon. When not touring, she indulges a newfound passion for growing vegetables. She enjoys performing in intimate venues, and in 2008 drove 12,000 miles with her husband-to-be in a 1990 Mazda 323 called Swansong playing more than 40 planned and impromptu shows in dens, livingrooms and gardens all over the United States. Her favorite feeling is that of the universal commune that comes when writing a song entirely by intuition.<br /><br />
Previous to arriving in Portland, Catherine lived for several years in Norfolk, England, releasing her second album to critical acclaim. ” ‘Hurricane Glass’ is one of those albums that soothes the listener into quietude… and only then coils its complications and ambiguities around you,” wrote Dain Cairns in the The Sunday Times.<br /><br />
After being picked up for the film “Running with Scissors,” and featured in “The O.C.,” the album’s lightning-rod track “Mr. Blue” reached the A-list at Britain’s most listened-to radio station, BBC Radio 2. Catherine toured the British Isles extensively, both as a headline act and in support of such artists as Martha Wainwright, Kelly Jones (The Stereophonics) and The Indigo Girls.<br /><br />
She discovered a passion for music early. Growing up in the suburbs of Philadelphia, Catherine took guitar lessons at a local music shop, learning Led Zeppelin and The Cure covers, while also studying classical vocal techniques at Settlement Music School. Her love for popular music won out over her interest in opera, however, and in high school she joined a punk 4-piece called LAMPshADe that played at Philadelphia institutions J.C. Dobbs and the Khyber Pass.<br /><br />
After college, Catherine moved to Los Angeles and found her place in a burgeoning singer-songwriter scene. Playing open mics and small shows, she gradually built an audience. In 2003, she recorded a sparse self-titled debut with artist/producer Joe Purdy, which found an enthusiastic audience in Americana circles in Europe as well as America.<br /><br />
That same year, a performance at premiere LA acoustic club The Hotel Cafe caught the eye of English artist/producer Sebastian Rogers. After seeing a few shows, Rogers became so enamored of her songs that he offered to produce her second album. He made the album entirely on credit, promising to pay the studio and the musicians when Feeny got signed.<br /><br />
The album was picked up by EMI, but after a corporate takeover at the company, Catherine was dropped from the label. Her third album, “People in the Hole ” in hand, she moved back to the States to find a way function as a singer-songwriter outside of the major-label machine.<br /><br />
In August 2009, Catherine made an exclusive pre-release copy of her new album available via CatherineFeeny.com. She is looking forward to her first club tour of the United States!<br />
]]></description>
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    <title>Jan 28, 2010: Brooklyn Circus presents J DaVeY at Yoshi&#39;s</title>
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    <dc:creator>Yoshis</dc:creator>
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    <title>Jan 28, 2010: Blame Sally at Yoshi&#39;s</title>
    <description><![CDATA[Called a San Francisco Bay Area phenomenon, this powerhouse all female band is suddenly finding themselves more and more in the national spotlight. In the fall of 2008, they signed a three-year album recording contract with Bay Area Opus Music Ventures. The ink was barely dry on the contract before Blame Sally found themselves in a brand new, state-of-the-art recording studio and in the very capable hands of Grammy-nominated producer, Lee Townsend, (Bill Frisell, Louden Wainwright, Noe Venable, Crooked Still).<br /><br />
In 2007 Blame Sally reached an audience of millions through XM Satellite Radio’s Starbuck’s XM Café where the band’s previous album Severland charted at number one. Their anti-Bush/anti-war song and video, “If You Tell a Lie” is featured on Neil Young’s Living With War website where it was number 2 in downloads for six months.<br /><br />
Instrumentation<br />
Pam Delgado: Percussion, guitar, vocals<br />
Renee Harcourt: Guitar, bass, banjo, harmonica, vocals<br />
Jeri Jones: Guitar, bass, dobro, mandoline, vocals<br />
Monica Pasqual: piano, keys, accordion, melodica, vocals<br />
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    <title>Jan 27, 2010: SF Sketchfest Presents Jill Sobule and Julia Sweeney: The Jill &amp; Julia Show at Yoshi&#39;s</title>
    <description><![CDATA[Jill Sobule (“I Kissed A Girl”) and Julia Sweeney (Saturday Night Live; God Said Ha!), team up for a delightful set that mixes witty songwriting with a little bit of social commentary. Jill Sobule isn&#39;t just another singer-songwriter with catchy tunes and smart lyrics, she&#39;s one of the more insightful satirists of our age. Each of her fanciful songs captures an issue or irony, an emotion or epiphany that helps us understand what it&#39;s like to live now.<br />
As a solo performer, comic actor Julia Sweeney explores love, cancer, family and faith. Her latest solo show and CD, Letting Go of God, is about the &quot;quest for something I could really believe in&quot; -- which turns out to be no God at all.<br />
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    <title>Jan 25, 2010: KDFC presents Quartet San Francisco Plays Brubeck at Yoshi&#39;s</title>
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]]></description>
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    <title>Jan 23, 2010: The Pharcyde with Live Band at Yoshi&#39;s</title>
    <description><![CDATA[An influential alternative rap quartet from South Central Los Angeles, the Pharcyde was formed by MCs/producers Tre &quot;Slimkid&quot; Hardson, Derrick &quot;Fatlip&quot; Stewart, Imani Wilcox, and Romye &quot;Booty Brown&quot; Robinson. Hardson, Wilcox, and Robinson were all dancers and choreographers who met on the L.A. underground club circuit in the late &#39;80s, worked together for a while, and served a stint as dancers on In Living Color. Stewart, meanwhile, performed at local clubs and eventually hooked up with the others in 1990. Under the tutelage of Reggie Andrews, a local high-school music teacher, the group learned about the music industry and the process of recording an album. They landed a deal with Delicious Vinyl in 1991, and a year later released their eccentric debut album, Bizarre Ride II the Pharcyde, which went gold. After support slots for De La Soul and A Tribe Called Quest as well as a successful spot on Lollapalooza&#39;s second stage in 1994, the group released its second album, Labcabincalifornia, which was calmer than their first but no less warped. After a five-year break which saw little action except for the debut of Stewart as a solo rapper (his single &quot;What&#39;s Up Fatlip&quot; became an underground hit), the Pharcyde returned in late 2000 with their third album, Plain Rap. The group fractured even more during the subsequent three years, leaving only two members -- Imani Wilcox and Bootie Brown -- to man 2004&#39;s Humboldt Beginnings.<br />
-Steve Huey, All Music Guide<br />
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Paula Edelstein, All Music Guide <br /><br />
Multi-Grammy nominee alto saxophonist Kenny Garrett has a truly unique style with a sound full of lyrical eloquence that possesses an unmistakable and powerful tone. He&#39;s been a sideman for legends like Miles Davis, Art Blakey, Freddie Hubbard, Woody Shaw, Sting and Peter Gabriel, emerging in the mid-&#39;80s as one of the jazz world&#39;s most exciting and eclectic artists. He brings a muscular yet lyrical eloquence to everything he lends his artistry, always delivering galvanizing and forceful work, digging deeper into composing while bringing a crackling vibrancy to his performances. Kenny&#39;s music is roll up your sleeves, in your face, hard bop blowing of rippling melodic songs. Garrett’s latest CD Beyond The Wall, which came about because of a 2005 visit to mainland China, inspired by Garrett’s longstanding interest in the nation’s culture and spirituality.<br />
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]]></description>
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slow-burning violin solo. Multiple albums were laced with classic cuts such as &quot;Hot Summer Day&quot;, &quot;Bombay Calling,&quot; &quot;Girl With No Eyes&quot;, &quot;Wasted Union Blues&quot;, &quot;Time Is&quot;, &quot;Dolphins&quot;, &quot;Misery Loves Company&quot;, and many more you&#39;ll remember. Today the band performs the music of It&#39;s A Beautiful Day along with newer material, moving effortlessly from an almost folksy sound to ethereal jazz to psychedelic to straight on rock &amp; roll performing selections from three new CDs and over seven of their previous albums. The show is enhanced with David Laflamme&#39;s delightful reminiscing of the San Francisco Summer of Love Days and 40 plus years of <br /><br />
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<a rel="nofollow" href="http://www.garajmahal.net/">http://www.garajmahal.net/</a><br />
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]]></description>
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Jan Jackson-drums (has played w/Will Bernard, Chuck Berry, Curtis Bumpy, many others)<br />
Lisa Mezzacappa-bass (Duo B, others)<br />
Graham Connah-piano (iconoclastic pianist!)<br />
with special guest<br />
Chris Grady-trumpet (Club Foot, Mark Growden)<br /><br />
8pm show<br />
$10 advance / $14 at the door<br />
]]></description>
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    <pubDate>Wed, 09 Dec 2009 13:57:01 -0700</pubDate>
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    <xCal:summary>The Beth Custer Ensemble</xCal:summary>
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    <title>Jan  4, 2010: An Evening with Al Kooper at Yoshi&#39;s</title>
    <description><![CDATA[Al Kooper (born Alan Peter Kuperschmidt; February 5, 1944) is an American songwriter, record producer and musician, probably best known for organizing the group Blood, Sweat &amp; Tears, though he did not stay with the group long enough to share its popularity. He provided important studio support for Bob Dylan when he went electric in 1965, and also brought together guitarists Mike Bloomfield and Stephen Stills of CSNY fame to record the Super Session album.<br />
]]></description>
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    <dc:creator>Yoshis</dc:creator>
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    <pubDate>Wed, 09 Dec 2009 13:54:54 -0700</pubDate>
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    <description><![CDATA[7pm show $18 advance / $22 at-the-door<br />
]]></description>
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Utilizing her formidable musical, vocal and performance skills, Kat Parra has leapt beyond the boundaries of the typical jazz singer and developed an alluring style that embraces sounds that both transcend and bend the stereotypical definition of Latin jazz. She shows no sign of letting up with her latest release Dos Amantes. Dos Amantes, which means two loves in Ladino and Spanish, fuses the flavor of Sephardic music (the music of the Spanish Jews) with the sounds and colors of contemporary Latin jazz, a genre that shares many of the same cultural diasporic streams. The disc features sparkling arrangements by Latin jazz heavyweights Murray Low, Wayne Wallace, David Pinto (Susana Baca), and Oscar Stagnaro (Paquito D Rivera). <br /><br />
On her previous CDs (Birds in Flight and Azucar de Amor), Parra included Sephardic repertoire that delighted critics and jazz fans alike. Upon being awarded a Zellerbach Family Foundation Grant, Parra was able to take the work of her new ensemble The Sephardic Music Experience to the next level, resulting in Dos Amantes groundbreaking explorations.<br />
As on her previous CDs, Parra teamed up with producer Wayne Wallace, a major player on the Bay-area Latin jazz scene. In addition, Patti Cathcart Andress (Tuck &amp; Patti) lent her expertise to this project as a consultant after becoming enamored with this music s unique beauty.<br /><br />
The band also features Peter Barshay (bass), Masaru Koga (woodwinds), Lila Sklar (violin), Murray Low (piano), Paul Van Wageningen (drums) and Katja Cooper (percussion).  Special guests include Jason McGuire on guitar, Ravi Gutala on tablas and the entire Temple Sinai of Oakland Choir.<br /><br />
This is a MurrayLowGig<br />
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