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 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 showsThe 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 linkPhoto credit: Ariel Nava

Podcast Show NotesEpisode Title:Vince Wilburn Jr. on Miles Davis, SFJAZZ, and the Miles Electric BandIn 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 SFJAZZSFJAZZ 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 showSFJAZZ 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 LeitzellMusic in this episode was provided by and used with the permission of the artist.

Show NotesDrummer 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 metaphorWhat Miles taught by silence, withholding, and redirectionWhy Kind of Blue isn't the whole pictureThe difference between how music was made then vs. now — and why it matters for studentsTeaching the Miles Davis aesthetic at NYU and The New SchoolWhat 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.orgLenny White at NYU SteinhardtBackstage 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 repertoireWhy Miles' music has endured — from modal jazz to Bitches Brew to hip hopMiles' philosophy: playing music vs. playing the instrumentThe famous "Freddie Webster" exchange and what it taught Henderson about finding your own voiceMiles as housemate, mentor, and comedianPerforming alongside Lenny White (Bitches Brew) and Javon Jackson at the SF Jazz tributeTeaching jazz at Oberlin and passing down the wisdom of MilesLinks & Info:SF Jazz Miles Davis Tribute — Saturday, March 21st, Miner Auditorium, San FranciscoTickets: 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 RushenLinks: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

After five decades as jazz's best-kept secret, multi-instrumentalist Roger Glenn steps into the spotlight with his first solo album in 50 years. In this episode of Backstage Bay Area, host Steve Roby sits down with the son of jazz royalty to discuss Latin jazz, life lessons from legends, and why 2025 was finally the right time to share his story. Episode HighlightsGrowing Up in Jazz Royalty: Roger shares stories of his father, Tyree Glenn, and the legendary musicians who shaped his musical education—from Count Basie's Joe Jones to Miles Davis's Winton KellyThe Great Day in Harlem: Roger reveals he skipped the iconic 1958 photo shoot, only to later perform with many of those same jazz giants, including Mary Lou Williams18 Instruments and Counting: How Roger became a multi-instrumental wizard, mastering everything from flute to vibraphoneThe 50-Year Wait: Why COVID, economic downturns, and Grammy category eliminations delayed the release of "My Latin Heart"Cultural Fusion: The deep meaning behind tracks like "Zambos Mambo" and "Congo Square," exploring the African and European roots of American musicBeyond Music: Roger's parallel passions as a multi-engine pilot, helicopter pilot, and sailor—and how they inspire his compositionsFeatured TracksZambos MamboShowcasing Roger's incredible flute work (currently charting on Jazz Week)Congo SquareA tribute to cultural fusion featuring Roger's vibraphone masteryAll music used on the podcast was supplied by the musicians and used with there permissionUpcoming ShowsBach Dancing and Dynamite Society - Half Moon BaySunday, March 8th at 4:30 PMFeaturing special guest Ray Obito on guitar🎟️ Limited tickets remaining📺 Live streaming availableGet TicketsMay House - Palo AltoThursday, March 27thLinks & ResourcesRoger Glenn Official WebsiteBach Dancing and Dynamite SocietyStream "My Latin Heart" (available now on all platforms) About Roger GlennRoger Glenn is a multi-instrumentalist virtuoso who has spent decades elevating the music of icons such as Dizzy Gillespie, Taj Mahal, and Mongo Santamaria. The son of Tyree Glenn (who played in Duke Ellington and Louis Armstrong's orchestras), Roger has mastered more than 18 instruments and is now celebrating his first album as a leader in 50 years. "My Latin Heart" has charted on Jazz Week for 23 weeks, peaking at #14.Backstage Bay Area celebrates the vibrant music scene of the San Francisco Bay Area. Subscribe wherever you get your podcasts.

Guest: Jack West In this episode, host Steve Roby welcomes guitarist, composer, and inventor Jack West, whose unique sound NPR once described as "a whole new sub-genre of jazz." After more than two decades away from the recording studio, Jack returns with two major projects: the stunning new album Guitars on Life (a duet collaboration with Walter Strauss) and Essential Curvature, a retrospective compilation of his best work from the 1990s and 2000s. Episode Highlights: Jack discusses his musical roots in rural Alabama and his decision in 1993 to leave rock bands and focus exclusively on acoustic guitarThe story behind his collaboration with Walter Strauss and how they wrote most of Guitars on Life in just one weekJack's innovative "acoustic spank" technique, which allows him to simultaneously play guitar, bass, and percussionHis invention of a specialized thumb pick that enables rapid-fire triplet strikes in both directionsThe eco-friendly PET plastic vinyl alternative used for the Guitars on Life releaseA preview of his upcoming Gliss Guitar - a revolutionary acoustic guitar with motorized pitch control on every string Music Featured: "More Guitar" from Guitars on Life"Double Bounce" from Guitars on LifeAll music featured in this episode was supplied by Jack West and used with his permission. Upcoming Show:Catch Jack West live at the Freight & Salvage in Berkeley on Thursday, February 26th at 8:00 PM for a special double bill featuring: The Jack West Slide Guitar Ensemble (featuring Josh Jones on drums, Gary Brown on bass, and Lalo Crane on marimba)The Walter Strauss & Jack West acoustic guitar duoTickets and more information: https://secure.thefreight.org/15495/15496-jack-west-walter-strauss-260226 Learn More:Visit Jack West's official website: https://www.jackwestguitar.com