THIS LAVISH oversized limited edition book brings together a collection of favorite photographs and stories from the pages of the New Fillmore. It tells the story of an ever-changing small town in the big city with a rich history and a strong sense of community.
Available exclusively at Browser Books on Fillmore, or order online.
THIS DOCUMENTARY — filmed entirely on Fillmore Street — tells the story of longtime Fillmore resident Kelly Johnson, who used a new California law to end his life on his own terms.
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.
Sheba co-owner Netsanet Alemayehu presents live jazz nightly with no cover charge.
SALOONS | CHRIS BARNETT
The Queen of Sheba, the Old Testament tells us, was a stunning Ethiopian temptress who dazzled King Solomon in the 10th century B.C. with a caravan of camels laden with gold, jewels and spices to promote lively trade between Israel and Arabia.
A mere 31 centuries later, the co-owner of Sheba Piano Lounge at 1419 Fillmore Street is a regal Ethiopian promoting live jazz in the Fillmore every night of the week with no cover charge.
Netsanet “Net” Alemayehu and her sister and business partner, Israel, aren’t trafficking in gold and jewels. But they jet into SFO from their homeland three times a year loaded down with hundreds of pounds of fragrant Ethiopian spices for the Abyssinian dishes and creative cocktails on their reasonably priced menu.
WHEN SHE’S NOT at her day job in a medical office near Fillmore, singer-songwriter Candace Roberts can often be found on the stage or in a cabaret.
Her recent music video, “Hello Ed Lee” — an adaptation of Adele’s mega-hit “Hello” — is a plaintive cry to the mayor of San Francisco about what she calls “a tale of two cities, and not the book, but reality.” Over images of street tents housing the homeless, she sings: “Oh this city is filthy rich, yet there’s crisis in the streets.”
NOTED SAN FRANCISCO graphic artist John Mattos has been selected to create the poster for the 2016 Fillmore Jazz Festival, coming on July 2 and 3, and this week he revealed his design.
“Like good jazz, it’s unexpected,” said Mattos. “There isn’t a guy with a horn in this, so it’s not replicating the experience of the festival. After all, the real function of the poster is to get attention, and a complete departure like this might get more attention than visually interpreting the aural experience — plus, it’s kinda light-hearted.”
Mattos follows other top poster artists who have offered their take on the Fillmore festival in recent years, including Michael Schwab, Craig Frazier and David Lance Goines.
The showplace club and restaurant that once housed Yoshi’s now sits empty.
IT HAS NOW cost more than $18 million in city funds to build the Fillmore Heritage Center and keep it afloat.
There is no new tenant in sight for the huge empty spaces formerly occupied by Yoshi’s jazz club and restaurant. The garage is losing $10,000 a month now that the building has few visitors. The Lush Life gallery also sits empty and has no potential new tenants. The restaurant 1300 on Fillmore continues to operate, but its future is in doubt.
These are some of the details that have finally begun to emerge about exactly what is happening with the project opened in 2007 to revitalize the stretch of Fillmore Street south of Geary once known as the Harlem of the West. Public hearings on July 13 and July 27 brought out scores of restive neighbors, and a thick “informational memorandum” laid out the sad financial facts, complete with spreadsheets, term sheets, notices of default and lease terminations attached.
“What the answer is, I don’t know,” said Board of Supervisors President London Breed, who represents the area and presided over the public meetings. “Nothing is finalized. It’s in the hands of the city.”
Breed shot down rumors the space might be converted into a Whole Foods grocery, insisting it would be reborn as an arts-related operation.
The city took over the 50,000-square-foot ground floor commercial spaces on June 5 from developer Michael Johnson, who spearheaded the project. Johnson had taken over the club and restaurant on July 1, 2014, after Yoshi’s San Francisco declared bankruptcy. He rebranded it The Addition on November 1, the same time he stopped making his loan payments to the city. He shut down the club on January 14 of this year.
Since then, it has sat empty. Johnson now owes the city $18.054 million, documents show.
Johnson distributed a “fact sheet” at the July 27 meeting that said he “has secured three potential new tenants,” but been unable to negotiate a deal with the city.
“No new tenant has been selected,” said Joaquin Torres of the mayor’s office at the July 27 meeting. He said the city was developing a request for proposals and would hold another public meeting in September to present its plan.
Many local residents called for the city to give the building to the neighborhood as redress for historic racial injustices. But Breed said that is unlikely and that the commercial space and garage will be sold for fair market value.
“The next establishment here needs to be a financially viable project,” she said.
UPDATE: Near the end of the July 27 meeting, developer Michael Johnson took the microphone to offer his view of the events that led from the creation of the Fillmore Heritage Center to the eventual closing of Yoshi’s — and then to the spectacularly quick demise of The Addition.
Johnson noted that he was primarily a housing developer when he was asked to become involved by local residents who wanted an African-American in charge. He said only two developers — he and a team led by basketball great Magic Johnson — were willing to take on the project.
“No one else was interested,” he said. “There were no other developers that don’t look like me that were interested in coming into this community.”
In hindsight, he said, it was a mistake for him to get involved in entertainment and restaurants.
“It was a bad decision to go down that road,” he said.
After Yoshi’s San Francisco declared bankruptcy, Johnson decided to run the club and restaurant himself.
“I made another mistake,” he said. “We decided we’re going to try to resurrect it and create The Addition.”
He added: “We found out that operating that 28,000-square-foot facility was very difficult. We went six months. We couldn’t make it work. We had to close.”
Johnson said the only way to make the Yoshi’s space work is if the city “takes a different approach to the financial structure of this building” to keep it from being “loaded down with debt payments.”
The club formerly known as Yoshi’s closed only 75 days after it was rebranded The Addition.
By CHRIS BARNETT
As a gaggle of City Hall lawyers and bureaucrats scramble to sort out a massive financial debacle of their own making, the cavernous jazz club, restaurant and bar complex at 1330 Fillmore formerly known as Yoshi’s San Francisco, dark for the last six months, isn’t likely to come alive again anytime soon.
The city of San Francisco has now seized control of the venue from developer Michael Johnson, who built the Jazz Heritage Center complex housing Yoshi’s, 1300 on Fillmore restaurant, an exhibition space and a theater, plus 80 condominiums above.
Johnson had taken charge on July 1 of last year when he forced out Yoshi’s owner Kaz Kajimura.
In the months that followed, Johnson eventually renamed the club The Addition and added more eclectic musical acts to the marquee, but never came up with a new concept for the restaurant. Then 75 days after the new venture was officially launched on November 1, it was abruptly shut down and its staff all sacked. Since then, it’s been a ghost building.
In 2006, internationally acclaimed photographer and professor Lewis Watts and Emmy Award-winning documentary filmmaker and writer Elizabeth Pepin Silva published Harlem of the West: The San Francisco Fillmore Jazz Era.
From cover to cover, Harlem of the West is filled with vintage photos documenting San Francisco’s historic jazz era during the 1940s and ’50s. The book also features anecdotes from those who lived and performed in the Fillmore during this period. Currently out of print, it continues to be in high demand.
Now the pair has teamed up again to create a unique, multi-platform history project that tells the story of San Francisco’s Fillmore District in its musical heyday. The goal of the Harlem of the West Project is to bring San Francisco’s Fillmore District history back to life in a book filled with rarely seen photographs and stories from those who lived through the period.
“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.”
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.
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.
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.”
