Documenting the Oakland cultural renaissance

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This Week in Oakulture: Alta California & Sonido Baylando Sound System, Xtigone World Premiere, Kahil El’Zabar & The Ethnic Heritage Ensemble, Con Brio & The Seshen, Kyle Abraham in Conversation with Alicia Garza (Feb 11-17)

Alta California & Sonido Baylando Sound System


Sonido Baylando is a new weekly Latin-themed music night at Berkeley Underground, the new night club venue Oakulture reviewed a little while back. Hosted by Baylando Records‘ DJs El Kool Kyle, Ras Rican and Erick Santero, event goers will be treated to all-vinyl music sets throughout the evening. Tonight’s installment of Sonido Baylando features live musical guest Alta California. The all-star Oakland band calls their take on Latin music “Rumba Esquina” — a mix of Afro-Cuban, Rumba, Flamenco, Salsa, Samba and soul. The 11-piece ensemble, fronted by vocalists Piero Amadeo Infante and Orlando Torriente,  includes dancers Melissa Cruz and Anya De Marie, who compliment the infectious rhythms with graceful, emotive interperative movements. Come as early as 7 p.m. for salsa lessons with Nicholas Van Eyck (complimentary with admission). The full music program kicks off at 8 p.m., with Alta California taking the stage at 9:30 p.m.

Alta California & Sonido Baylando Sound System, 2/11, 8 p.m., $8 Advance, 21 and over, Berkeley Underground, 2284 Shattuck Ave., Berkeley. » Buy Tickets.

Xtigone (World Premiere)


From an artivist perspective, art is used a tool to communicate ideas and inspire action around issues of social justice. Today’s contemporary artivists are empowering communities and building movements through music, film, dance and theater. Nambi E. Kelley, an emerging playwright from Chicago, was inspired by the murders associated with gang violence in her hometown to revisit Sophocles’ “Antigone,” renaming it “Xtigone.”  In Kelley’s contemporary urban adaptation of the classic Greek tragedy, music plays a big part of telling the story of violence in our communities. The Bay Area’s Tommy Shepherd is the play’s musical composer, and the cast includes Oakland’s RyanNicole. Directed by Rhodessa Jones, and presented by the African American Shakespeare Company, “Xtigone” opens this Valentine’s Day at AAACC’s Buriel Clay Theatre in San Francisco, with weekend shows on Saturdays and Sundays through March 8th.

“Xtigone” (World Premiere), Sat-Sun 2/14-3/08, 8 p.m. (Sat), 3 p.m. (Sun), $15-$34, Ages 9 and over, Buriel Clay Theatre at the African-American Art & Culture Complex, 762 Fulton Street, San Francisco. » Buy Tickets.

Kahil El’Zabar & The Ethnic Heritage Ensemble


This St. Valentine’s night,  Oakland’s EastSide Cultural Center will host a celebration for the 50th anniversary of the Association for the Advancement of Creative Musicians (AACM). Founded and based in Chicago, AACM is one of the oldest collectives of Black musicians indentified with the influential Black Arts Movement. The musical program will feature Kahil El’Zabar and the Ethnic Heritage Ensemble, featuring percussionist and composer El’Zabar, with Ernest Dawkins on saxophone, Corey Wilkes on trumpet, and special guest conguero John Santos.

Kahil El’Zabar & The Ethnic Heritage Ensemble, 2/14, 8 p.m., $20 ($30 for Couples), All Ages, EastSide Cultural Center, 2277 International Blvd., Oakland. » Buy Tickets.

Con Brio Kiss the Sun EP Release with The Seshen


SF’s super-sexy soul-funk outfit Con Brio has just released their latest EP, Kiss the Sun, and they want you to celebrate with them at The Independent on Valentine’s Day evening! Having built quite a buzz around town, including playing the recent Sly and the Family Stone Tribute at the Fox, the Ziek McCarter-fronted band seems poised for big things. Opening for them are another buzzworthy local outfit, East Bay electro-soul The Seshen, whose wonderfully trip-hoppy live show is worth getting to the venue early for.

Con Brio with The Seshen, 2/14, Doors 8:30 p.m., Show 9 p.m., $15-$18, 21 and over, The Independent, 628 Divisadero St., San Francisco. » Buy Tickets.

The Movement of Movement: Kyle Abraham in Conversation with Alicia Garza


Alicia Garza, Oakland-based co-founder of the #BlackLivesMatter movement, joins dancer and choreographer Kyle Abraham for a conversation about “The Movement of Movement.” With such a powerful title, we have high hopes for the discussion, which revolves around interconnectivity between artistic and social justice movements – a topic Oakulture recently explored in Why Black Art Matters. The talk will be presented at Impact Hub Oakland and is hosted by Yerba Buena Center for the Arts (where “ABRAHAM.IN.MOTION: PAVEMENT” will have its Bay Area Premiere from February 19-20).

“The Movement of Movement: Kyle Abraham in Conversation with Alicia Garza,” 2/16, 7 p.m., Free with RSVP to rgutierrez@ybca.org, All Ages, Impact Hub Oakland, 2323 Broadway, Oakland. » Facebook Event Page.

This Week in Oakulture is curated by Zsa-Zsa Rensch.  Connect with Zsa-Zsa on Twitter at @zsazsa.

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Sly Stone Tribute Show Takes the Musical Legend’s Legacy Higher

This is what 175 local musicians onstage at the same time looks like

This is what 175 local musicians onstage at the same time looks like

Reportedly, some 175 local musicians were involved in UnderCover Presents’ production of “Sly & the Family Stone’s Stand,” a tribute to the Bay Area band’s classic album, released in 1969. Seemingly all of them were on the Fox Theater’s spacious stage simultaneously during Saturday night’s encore of “Thank You Fallettin Me Be Mice Elf Agin.” Having already tacked all nine proper songs on the Stand album, not to mention sneaking in snippets of other Family Stone hits, it seemed only natural to end what had been a monumental undertaking with yet another of Sly’s eternal  classics.

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The wide expanse of humanity onstage resembled nothing so much as the personification of “Everyday People,” Stand’s biggest hit, and one which had been performed earlier in the evening by rock & roll act Tumbleweed Wanderers. From left to right, the stage was awash in colorful, vibrant folks of several ethnicities singing, dancing, and playing instruments together – MLK’s dream rendered in stage lights for all to see. At the time of its release, “Everyday People” was a manifesto of social acceptance, an urging for “different strokes for different folks.” Despite our cultural, political, and ideological differences, Stone pleaded, “We got to live together.” The statement remains as true now as it was then.

Marcus Shelby (l.) and Tiffany Austin (r.)

Marcus Shelby (l.) and Tiffany Austin (r.)

More triumphant celebration than nostalgic remembrance, “Sly & the Family Stone’s Stand” at once upheld and advanced Stone’s musical vision. Groundbreaking at the time, there was nothing on the musical landscape quite like Stand, an album which infused the revolutionary activism of the late 60s into a wide-reaching blend of progressive musical influences, mixing R&B, soul, funk, psychedelic rock, and pop in a way even Motown had yet to imagine – it would be years before Stevie Wonder and Marvin Gaye incorporated social consciousness into their music. Saturday’s show added jazz, orchestral strings, vocal choirs, salsa, and hip-hop to an already-bubbling musical melting pot. The result was pure alchemy.

Freddie Stone

Freddie Stone

Unfortunately, Oakulture arrived one-third of the way in, after the Awesome Orchestra Collective, Ensemble Mik Nawooj, and Zakiya Harris featuring Elephantine had already warmed up the large-capacity venue with “Stand,” “Don’t Call Me N*gger, Whitey,” and “I Want to Take You Higher,” respectively.



The vibe was indeed elevated as we made our way through the art deco doors into the auditorium hall.  Fortunately, the Marcus Shelby Quintet didn’t let the energy dip. Their take on “Somebody’s Watching You” gave the song an entirely different musical context while reaffirming the power of the lyrics (which are ostensibly about the conscious mind, but could just as easily be about the surveillance state). The MSQ wrapped the song in resonant jazz chordings which allowed the melodies space to breathe freely, highlighted by some impressive vocal work by Tiffany Austin. Bayonics’ version of “Sing a Simple Song” expanded the tune’s territory into funky salsa grooves, overlaid with rap verses, and the aforementioned Tumbleweed Wanderers offered a slightly folksy version of the ubiquitous “Everyday People.”

Con Brio's Ziek McCarter

Con Brio’s Ziek McCarter

Earlier, many former members of the Family Stone, including bassist Rustee Allen, saxophonist Jerry Martini, trumpeter Cynthia Robinson, drummer Greg Errico, and guitarist Freddie Stone, were introduced, to wide applause. But something was missing: Sly himself, who reportedly appeared on a panel at an afternoon convention held in the Fox’s Den bar. A press release hinted that he might take the stage, but that never happened.

Ricky Vincent

Ricky Vincent

All was not lost, however, as Con Brio frontman Ziek McCarter’s serpentine-like dance moves and channeling of kundalini energy put the sex in “A Sex Supreme,” a reimagining of Stand’s lengthiest number, “Sex Machine.”

Bassist Allen, who replaced Larry Graham in the Family Stone, joined Will Magid & Everyday People for “My Brain (Zig-Zag)”—an instrumental recorded around the same time as Stand which appeared on 20007’s reissue version of the album—which segued into “If You Want Me to Stay” (from 1973’s Fresh, which featured Allen on bass). The Jazz Mafia & Crossroads Collective closed out the set with “You Can Make It If You Try,” another of Stone’s message-laden tracks, which mixed horns and strings with vocals from Trance Thompson, Nataly Michelle Wright and Tym Brown.

Rustee Allen

Rustee Allen

All of which led up to the all-hands-on-deck encore, which riffed on what  for many is the quintessential Stone song (just as Stand is probably his best album track-for-track), and one evidently  infused with deep personal meaning: We don’t know exactly who Sly is thanking for letting him be himself again, but the appreciation seems soul-deep and heartfelt. Speaking of heartfelt, the work that went into coordinating the show (an earlier incarnation of which played at the Independent in 2013) had to be considerable, yet the product of all that work was undoubtedly a labor of love.

Awesome Orchestra Collective

Awesome Orchestra Collective

This was easily the biggest splash yet by UnderCover Presents, which has been assembling local bands for remakes of songs from classic albums since 2011, so it wasn’t surprising to see Executive Director Lyz Luke dancing with overflowing joy during the encore. Props also go out to co-producer Yosh! Haraguchi and music director David Moschler, as well as emcee Ricky Vincent, author of “Funk” and “Party Music,” who dressed for the occasion in a multihued tuxedo jacket, topped with an Afro wig and John Lennon shades.

Rickey Vincent (l.) and Lyz Luke

Rickey Vincent (l.) and Lyz Luke

Look for an upcoming airing of the performance on KQED (who videotaped the proceedings), as well as CDs and digital downloads of the live show. And mark your calendar for the next installment of UnderCover (at  the Independent April 3-5), which tackles Bob Marley’s Exodus. Performers reportedly include Boots Riley, Black Nature Band, Rupa & the April Fishes, Sean Hayes, Almas Frontierizas, the Broun Fellinis, T Sisters, Quartet San Francisco and more. That’s a great lineup which should build on all the momentum—and positive energy—generated by the Sly tribute.

Thank You Fa Lettin Me Be Mic Elf Agin

Thank You Falettin Me Be Mice Elf Agin

Lastly, Oakulture would just like to note how great it is to have the doors of the Fox open, finally, to local musicians—even if just for one night. It always seemed a little unfair to have this beautiful, restored venue right in the middle of the downtown do major shows which rarely offered local folks opportunities  to perform on that big stage, in front of big crowds. Here’s hoping that “Sly & the Family Stone’s Stand” not only broke that mold, but sets a new, welcoming, trend for the future.