A noir thriller set locally

HOLLYWOOD COMES to the neighborhood April 10 when a new film, Man From Reno, has its San Francisco premiere at the Sundance Kabuki Theater.

ManFromRenoActually, Hollywood is coming back to the neighborhood, since much of the film was shot nearby at the Majestic Hotel and on the streets of Japantown.

It’s the story of a famous Japanese crime novelist drawn into a murder mystery of her own while hiding out from the paparazzi. It stars Ayako Fujitani, Steven Segal’s daughter, and Pepe Serna, a veteran actor with more than 100 film credits, including Scarface. Dave Boyle directs.

Man From Reno fascinates,” wrote a New York Times reviewer, and “nods to noirs from Chinatown to Vertigo.”

In addition to its setting, the film has other local connections. Neighborhood resident Ben Lyon is a co-producer and veteran actor Karl Heinz-Tauber, also a longtime Pacific Heights resident most known for his role in Amadeus, has a scene-stealing role.

“This will be one of the most fun things to happen in the neighborhood in a long time,” said Lyon: “an award-winning independent film made in our own back yard.”

Man From Reno will screen daily from April 10 through April 16.

New Yoshi’s closes after 6 months

IMG_2107

IMG_2161THE ADDITION — the former jazz club and Japanese restaurant known as Yoshi’s San Francisco — abruptly suspended operations on January 14. The minority partners had taken over the business only six months ago, on July 1, and rebranded it as The Addition on November 1, sacking the Yoshi’s marquee with a temporary covering.

Former Yoshi’s programmer Peter Williams returned to expand the bookings beyond jazz into soul and R&B. But business declined precipitously and the bar and restaurant — which never got a new concept or chef — had been largely empty since the ownership change.

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The Grateful Dead at Winterland, 1977

Winterland, Steiner & Post Streets in San Francisco, December 29, 1977

Winterland, Steiner & Post Streets in San Francisco, December 29, 1977

FLASHBACK | BOB MINKIN

After my summer trip to San Francisco in August ’77, I was itching to get back to the Bay Area. The Grateful Dead provided the perfect excuse — their fabled year-end concerts at Winterland. As a young Deadhead who never got to see shows at the Fillmore, Fillmore West or Avalon Ballroom, Winterland represented the last of San Francisco’s legendary venues.

Armed with my new camera — a Minolta SRT-101 with a 50mm f1.8 lens — and a load of film, I left New York City on Christmas day, taking Amtrak to Chicago and switching to a Greyhound bus that took me to San Francisco.

After arriving late at night, I lost my wallet in the San Francisco Greyhound bus terminal. My wallet contained all of my money, plus a pair of tickets to each of the three sold-out shows. I freaked out! What was I going to do now?

A hippie I met on the bus let me stay at his place that night, and the next morning, December 29th, he drove me to the corner of Post and Steiner Streets, home of Winterland.

It was a rainy, dreary morning and here I was standing outside the venue with no tickets and no money. Not only did I lose my own tickets but my friend Joel’s as well. Fortunately I still had an ounce of Thai sticks that I had carried cross-country, and selling a few sticks gained me some cash.

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When Joel arrived, I gave him the bad news about our predicament, and he wasn’t very happy about it, to say the least. We decided to take a cab to Winterland Productions’ offices downtown, since that was where the tickets had been mailed from. I remembered the name of the woman who had originally helped me get them — Gloria Pulido — and asked for her when we got to the offices. She helped out again by selling Joel and me new sets of tickets to the three sold-out shows.

The year 1977 was a great one for the band, and they closed it out in style with three fantastic shows at Winterland. The first night, December 29th, is one of my favorite shows, and it was released on CD as Dick’s Picks, Volume 10.

Sadly, Winterland is no more, and condos now occupy the corner of Post and Steiner Streets.

— From Live Dead: The Grateful Dead Photographed by Bob Minkin

Live-Dead-Book

Ladies only night at The Fillmore

MUSIC | BARBARA KATE REPA

The Fillmore Auditorium has existed as the neighborhood’s dance hall and rock emporium for more than a century. And in all that time, there has been one common characteristic among those performing and running the shows: All were men. That will change on January 31, with The First All Lady Show featuring four Bay Area bands — all comprised of female musicians.

“We’ve been dreaming of playing at The Fillmore for a long time,” says Erin Chapin, who sings and plays guitar and other instruments with The Rainbow Girls, one of the featured acts. “Even Janis Joplin never had a band of ladies playing with her.”

The idea for the show was born out of condescension and fueled by frustration. Chapin says it’s “clearly different” being in an all-female band and navigating through the music world, which is still very much dominated by men.

“On one hand, you have a leg up, so to speak,” she says. “But you still have to smile and nod when people talk down to you. And too often, we get called a ‘girl band.’ It’s unfortunate that term is degrading.”

She has many stories of being underestimated by those in the business, especially the venue technicians, who seem to expect “a few singers with guitars” rather than a full-blown band.

“One sound guy even said to us: ‘Can’t you little ladies just a share a microphone?’ ’’ she recalls. “I just wanted to kick him in his little man.”

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‘The city’s most charming theater’

Michael Blythe at his frequent post behind the Clay Theater concession stand.

Michael Blythe at his frequent post behind the Clay Theater concession stand.

Q & A | MICHAEL BLYTHE

Michael Blythe has worked at the venerable Clay Theater at 2261 Fillmore Street for nearly a decade. In that time he’s had the opportunity to lavish his love of old theaters on the Clay, which is now more than 100 years old.

On New Year’s Eve he helped launch a new venture as the Oasis nightclub on 11th Street began a new life. But he’s not entirely leaving the Clay behind.

What first attracted you to the Clay Theater?

I come from a lighting background. When I was a kid I was obsessed with lights, and still am. I was a nightclub lighting director in San Francisco before I moved to Minnesota, where I honed my craft running large moving rigs for a couple of clubs downtown, including shows I did at the legendary First Avenue nightclub.

When I returned to SF I got the job at the Clay that allowed me to have the freedom to work shows, but also get into one of my other longstanding obsessions: old theaters.

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His baton is at rest

Ever-playful music man Alden Gilchrist with a sculpture by Ralph O'Neill

Ever-playful music man Alden Gilchrist with a sculpture by Ralph O’Neill

JUST AFTER MIDDAY an email message went out: Alden Gilchrist, the widely beloved music director who served Fillmore’s Calvary Presbyterian Church for more than 60 years, had died the night before, on September 1, Labor Day, at age 83.

A few hours later, as dark descended, several dozen of Gilchrist’s friends and admirers instinctively gathered at the church for music and an informal memorial.

“He had that unique ability to make everyone feel like his best friend,” said pastor John Weems.

Gilchrist first came to the historic church at Jackson and Fillmore in 1951 to play the organ. Except for a brief study tour in France, he never left. He was named director of music in 1965, and in the decades since he has been widely acclaimed for his commitment to enlightened and enduring music. He initiated a community concert series, which brings professional musicians to perform at the church and benefits local charities. He led the church choir on three European tours, including performances at Notre Dame in Paris and at the historic cathedral in Chartres. More recently he pioneered a popular Sunday evening jazz service at Calvary.

“He survived six different pastors,” said choir member and church historian Joe Beyer, a friend of Gilchrist’s for more than 50 years.

In October 2011, a concert honored Gilchrist on his 60th anniversary at the church. He remained at the podium through the annual Christmas concert last year, when he conducted the choir and accompanying orchestra in two major works, the Gloria by Francis Poulenc followed by the equally famed Gloria by Antonio Vivaldi.

Shortly afterward, he suffered an illness that kept him in and out of hospitals for much of this year. Gilchrist’s friends and the church staff kept rigid rules in place to limit visitors. “Those who know him — which includes most of greater San Francisco — know also that the gregarious musician would have had nonstop visitors partying with him if the choice were left to him,” said his friend Fran Johns.

Gilchrist’s public sentiments were mostly musical. Weems recalled asking Gilchrist to pray at a staff meeting. He promptly responded: “I already did.”

EARLIER: “60 years of making music

A new era begins at Yoshi’s

Photograph of opening night at Yoshi's on November 27, 2007, by Mina Pahlevan

Photograph of opening night at Yoshi’s on November 27, 2007, by Mina Pahlevan

By Chris Barnett

AFTER A DIZZYING seven year roller-coaster ride — from its opening as the hot new jazz club on the West Coast to a plunge into bankruptcy — Yoshi’s on Fillmore was taken over by new owners July 1 and is tuning up for its next gig.

Yoshi’s San Francisco, launched at the end of 2007 as the offspring of 42-year-old Yoshi’s in Oakland, will no longer be a jazz club, despite its heritage and its locale in what was once the fabled Harlem of the West. In fact, it hasn’t been a jazz club for several years, and the music promises to get still more eclectic under new management.

The big question is what the new Yoshi’s is going to look like, sound like and taste like. It’s hard to say just yet because the take-over management team, headed by longtime minority owner and successful urban developer Michael E. Johnson — who developed the Fillmore Heritage Center housing Yoshi’s, 1300 on Fillmore and 80 condominiums above — took control suddenly last month without a fully developed business plan. Even as the curtain rises this month, the new Yoshi’s, including its new name, is a work in progress.

This much is known: The business known as Yoshi’s San Francisco — which includes the 420-seat club and the 370-seat Japanese restaurant and lounge — was sold by an investment consortium headed by Yoshie Akiba and Kaz Kajimura to the Fillmore Live Entertainment Group, where Johnson is the managing director. No one including Johnson is saying what Fillmore Live paid, if anything. The club complex, separate from the building Johnson developed and controls, filed for Chapter 11 bankruptcy protection in 2012. The sale does not affect the mothership Yoshi’s in Jack London Square.

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How the Yoshi’s deal went down

Yoshi's will still have jazz, but it won't be a jazz club, its artistic director says.

Yoshi’s will still have jazz, but it won’t be a jazz club, its artistic director says.

By Chris Barnett

YOSHI’S ON FILLMORE is already booked this summer with acts lined up before the ownership changed on July 1.

But it almost went dark. Just a few weeks ago, the mood at Yoshi’s was deathly. Backstage, insiders could practically hear a New Orleans funeral band playing Just a Closer Walk With Thee, the traditional dirge of the deceased.

But on the way to the cemetery, a miracle happened. Almost every investor with a financial stake in Yoshi’s — owners, borrowers, lenders, private citizens, city and state governmental agencies — took a haircut, and in some cases a real scalping, so the club could emerge from bankruptcy and survive. Investors who despised each other set aside their differences and, in some instances, ponied up more cash or personal commitments to rescue a dream that had turned into a financial nightmare.

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The year of women in jazz

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By JASON OLAINE
Artistic Director, Fillmore Jazz Festival

While 1992 might have been tagged the “Year of the Woman” in politics, this year’s Fillmore Jazz Festival might well be dubbed the same, as we raise our flags up and down the street to salute talented “Women in Jazz and Beyond.”

Here in the Bay Area — and this weekend on Fillmore — we are blessed to have a cornucopia of talented female artists who not only excel at their craft, but run the gamut of styles, perform on a variety of instruments and excite and energize audiences. Whether it’s jazz or blues, flamenco or folk, world music or soul, the women performing this weekend have style and substance in spades.

Some of the performers in 2014 return to the festival and are household names up and down the peninsula — including jazz and blues singers Faye Carol, Kim Nalley, Lavay Smith and flamenco pioneer Yaelisa and her group Caminos Flamencos, who tore the non-existent roof off of the festival in 2012. Other artists are household names but are here for the first time or returning after a long sabbatical — including singers Kitty Margolis, Pamela Rose, Carla Helmbrecht, Shayna Steele, Anna Kristina and Ila Cantor.

We are lucky to have bands or groups with us that feature or are led by women, including the all-woman world music outfit Azúcar Con Aché, the dynamic, multi-cultural 15-member strong Oakland Jazz Choir, the most in-demand blues bassist on the planet, Bay Area resident Ruth Davies and her band Blues Thing, vocalist Ariel Friedman’s Waves of Silver and the California Jazz Conservatory’s Arabelle Schoenberg and Nora Stanley Group.

With such a diverse and inspiring lineup, the best tip might be to arrive early and stay late — and wear comfortable shoes. These streets were made for walking, and I know that’s just what I’ll do. There’s so much music to catch, so many artists to support, so many arts and crafts and goods for sale that the weekend will be gone before you know it.

ENTERTAINMENT SCHEDULE

‘Music transcends language’

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ARTISTIC DIRECTOR | JASON OLAINE

When artistic director Jason Olaine began planning this year’s lineup for the Fillmore Jazz Festival, he found himself booking so many women performers he had a theme.

“There are so many great women jazz artists in the Bay Area,” he says, “and not just vocalists.”

Olaine’s day job as director of programming and touring for Jazz at Lincoln Center in New York keeps him on the front lines of jazz around the world. But Olaine says he is always happy to come back to the Bay Area.

“The Bay Area is my home — I am a third-generation Palo Altan,” he says. “My first jobs in the jazz world were at Yoshi’s in Oakland and the Gavin Report back in the early ’90s. I also interned at KJAZ and Jazz in the City, now SF Jazz. When Jazz at Lincoln Center approached me in 2011, there were a few things I asked for. One was whether I could continue as artistic director of the Fillmore Jazz Festival.”

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