The New Fillmore

By JASON OLAINE
Artistic Director, Fillmore Jazz Festival

In Tribute. That’s the theme of this year’s Fillmore Jazz Festival, coming on July 2 and 3.

Perhaps it would be fitting to hold a tribute festival every year. Invariably, some artist who changed the game or played with unbelievable virtuosity or defied genres or created timeless art passes on to the next stage — literally — leaving behind a legacy for others to build upon, be inspired by, or just enjoy.

This past year, though, we witnessed a jaw-dropping exodus of some of our most visionary and visceral musical artists: Prince, David Bowie, Ernestine Anderson, Maurice White of Earth Wind and Fire, trumpeter Mic Gillette of Tower of Power, Dan Hicks, Natalie Cole, Paul Kantner of the Jefferson Airplane, Glenn Frey of the Eagles, alto sax jazzman Phil Woods, Allen Toussaint. We also said goodbye to R&B and soul icon Otis Clay, jazz singers Mark Murphy and Frank Sinatra Jr., country legend Merle Haggard and, sadly, many more.

The artists performing during the weekend at the 2016 Fillmore Jazz Festival were chosen not because they sound like or exclusively play the music of the icons we lost, but for their own creativity and talent. However, most will be playing and paying some tribute to one or more of these fallen heroes. As you wander up and down the Fillmore, you’re likely to hear songs by artists you may want to learn more about, including the Cuban trumpet marvel Chocolate Armenteros or the adventurist jazz pianist Paul Bley. You’re also certain to hear new arrangements of songs by familiar artists who are no longer with us.

It is with gratitude we salute these music masters who left us with a legacy of music to soothe our souls or make us want to dance or scream or jump and shout.

In Tribute. We give thanks and honor their spirit by offering new music for all to share.

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“YOU HAVE TIME for one more before this joint closes forever?” asked the vocalist for the Hot Sardines, who performed on January 14 — the final night at Fillmore’s jazz showcase, which had opened to great fanfare seven years earlier as Yoshi’s San Francisco.

The end came quickly. Just the day before, the new owners announced they were shutting down “due to some financial hardships resulting from reduced revenue.”

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.

The new management team, the Fillmore Live Entertainment Group, was led by Michael Johnson, the developer who built the club, two restaurants and 80 condominiums above at Fillmore and Eddy.

“FLEG is in the process of determining how to address existing liabilities of the business,” said a statement the group released. The group is also seeking “a potential lead partner to take over operations [of the club] in addition to re-concepting the existing restaurant.”

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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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