Advertise on podcast: Songs & Stories

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 musicHis unconventional path into jazz: a post-basketball-career pivot in his early twenties that led him straight to Miles DavisWhy Birth of the Cool was actually the last Miles Davis music to click for him — and why that makes senseThe 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 unrepeatableA 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 itRising 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 concertMarcus's original composition Monk in the City, written for the same instrumentation as the Birth of the Cool nonetWhat 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 AuditoriumMarcus'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 JazzFeatured Music Boplicity — Miles DavisMoonbeams — Miles DavisAll 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.comHealdsburg Jazz: healdsburgjazz.orgBackstage 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.

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 HoSFJAZZ Joe Henderson LabSaturday, May 2, 20267:00 p.m. and 8:30 p.m. Links:Daniel Ho: danielho.comTickets: SFJAZZBackstage Bay Area: backstagebayarea.com

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 VagabondLive at SFJAZZAaron 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/

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 TrioSaturday, April 25, 20265:30 p.m.Piedmont Piano Company1728 San Pablo Avenue, Oakland Tickets and details: Piedmont Piano Company

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.comTickets: SFJAZZBackstage Bay Area: backstagebayarea.com

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 OneAll 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.comTickets: https://yoshis.comBackstage Bay Area: https://www.backstagebayarea.com 

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

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 backgroundHow folk, soul, and jazz come together in her songwritingThe 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

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 conceivedWhy Vince wanted the series to reflect multiple eras of Miles’s careerWhat made the Miles Electric Band the right way to close the weekVince’s memories of Miles as a listener, bandleader, and creative forceWhy Miles’s music still feels alive, current, and unfinished in the best senseWilburn 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.

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 KingstonLearning music by earSeeing Louis Armstrong as a boyWhy he hears all styles as one musical languageSpontaneity, groove, and joy in performanceWhat to expect at SFJAZZ SFJAZZ show details:Monty Alexander TrioSunday, March 29, 20267:00 PMMiner Auditorium, SFJAZZ Center, San Francisco

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 DreamThe spirit and sound of “Flamekeeper”Working with Hiromi and Chris PotterWhy collaboration matters in her musicWho’s joining her on stage at SFJAZZWhat audiences can look forward to at the UpSwing show SFJAZZ show details:Lakecia Benjamin / Pasquale Grasso TrioSaturday, March 28, 20267:30 PMMiner 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.

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.

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.

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 musicA 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 FisherThe cross-fade concept — How each track on the album teases the next, creating a continuous listening experienceKind 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 imitationArt Blakey's lesson — "Don't worry about Wayne Shorter — just be you." How that advice shapes Javon's approach to all tribute performancesMiles Davis and the power of silence — Blakey's 200-words vs. 10-words parable as a way of understanding Miles's minimalist geniusThe all-star ensemble — Dr. Eddie Henderson (a Miles associate), Lenny White (Bitches Brew), Buster Williams, Donald Harrison, and Patrice Rushen Links: Javon Jackson: jevonjackson.comKind of Blue Tribute at SF Jazz — Minor Auditorium, Saturday, March 21stAfternoon show: 4:00 PM | Evening show: 7:30 PMTickets: sfjazz.orgJackson Plays Dylan — available now (singles: "Hurricane," "Gotta Serve Somebody")Backstage Bay Area hosted by Steve Roby  Visit: https://www.backstagebayarea.com

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