Receive Weekly Email and Text Message Updates:
Sign up for latest info on concerts, dining, promotions and more!
Go!

Related Stories ...

Most Popular

Reader's Picks

Top Recommendations

A short list of San Francisco's most popular hot spots.
user content provided by: LikeMe.net & SF Weekly

National Features >

  • Broward-Palm Beach New Times

    Freeze Frame

    A visit to the strange and wonderful world of Vanilla Ice.

    By Michael J. Mooney

  • Miami New Times

    Young Blood

    As the Supreme Court considers whether to ban life sentences for juveniles, it should remember the evil deeds of Dewayne Pinacle.

    By Tim Elfrink

  • Riverfront Times

    Cannonball Re-Run

    A screwball crew of gearheads retool outlaw cross-country car racing.

    By Nicholas Phillips

  • Houston Press

    The Idiot's Guide to Smoking Pot

    Lesson one: Do not eat your weed in front of a cop.

    By John Nova Lomax

Hear This

Glenn Spearman Music Festival

Share

  • rss

By Sam Prestianni

Published on February 09, 2000

Glenn Spearman Music Festival
In 1998, veteran free-jazz saxophonist Glenn Spearman's local reputation for volcanic improv finally seemed to be gaining international notice. A marked increase in activity, both onstage and in the studio, even attracted the attention of slow-on-the-uptake industry critics. Then in October of that year -- at the apparent height of his musical prowess -- Spearman died of colon cancer.

Though his absence has been palpable in the Bay Area jazz community, his music lives on. Adding considerably to Spearman's recorded legacy, a number of exceptional CDs have been issued in the past year, including a passionately meditative duo with bassist Dominic Duval, Working With the Elements (CIMP), the dark and haunting Blues for Falasha(Tzadik) with his acclaimed Double Trio, and a whirlwind document of his final live performance at Amherst's Fire in the Valley Festival, First and Last(Eremite). Italy's respected Black Saint Records is also poised to release the highly anticipated Free Worlds.

Despite the value of these posthumous recordings, those of us who saw Spearman in concert will forever miss the sheer power of his in-your-face sound. On the notes to First and Last, pianist Matthew Goodheart explains, "There were always images of wind; the storm, the hurricane. The tempest, and he blew you right off, out of the stage, onto your damn head." Double Trio partner Larry Ochs concurs on the notes to Falasha: "[H]is over-the-top positive attitude and especially his own performances fueled the group take-off, pushing the performers into an energy zone both evocative and exhilarating."

It's fitting then that Glenn Spearman's former colleagues have rallied to commemorate the man and his music with a weeklong series of live concerts at Mills College, the Oakland new-music institution where the saxophonist had lectured since 1992. Musicians and bands slated to appear include Marco Eneidi, Kash Killion, Chris Brown, Matthew Goodheart, Eddie Gale, Karen Borca, What We Live, Positive Knowledge, the American Jungle Orchestra, the Mills College Contemporary Performance Ensemble (under the direction of Fred Frith), and a special presentation of Spearman's last major composition, "Nut Dust and Powder Before the Altar," by the Double Trio.

The Glenn Spearman Music Festival extends from Monday through Friday, Feb. 14 -18; shows begin at 8 p.m. at Mills College Concert Hall, 5000 MacArthur Blvd., Oakland. (A dedication ceremony and panel discussion is scheduled for Sunday, Feb. 13, at 2 p.m. in the Olin Library's Rare Book Room.) Admission to all concerts is free; check the www.bayimproviser.com Web site for a complete schedule of events, or call (510) 430-2171.