“Oh, what a night” it was at SFJazz, where a cohort of consummate masters lavished an incredible performance on a very lucky audience. Zakir Hussein, Bela Fleck, and Rakesh Churasia are all unequaled virtuosos on their respective instruments—tabla, banjo, and Bansuri Indian wood flute—and were artfully assisted by the versatile and accomplished bassist Edgar Meyer.

In addition to the seamless cohesiveness and profound virtuosity of the music, under Zakir’s inclusive leadership the group also entertained the listeners with a relaxed and amusing, almost comedic performance style,
clearly enjoying every minute of their 1½-hour set, often wisecracking to each other between tunes.

You might imagine that the group’s array of instrumentation would be a weird and clashing mix, but actually the opposite was true—a tonal blend that was hauntingly beautiful and even sublime. It was so perfect that at times it was difficult to discern where a sustained note of one instrument ended and another’s began. What also stood out—and this is by no means
a critique—was their interesting, consciously chosen approach to transcend polyphony through the linear unisons of meditative trance music but doing so with masterful hypnotic swing. These rhythmically and harmonically complex synchronizations were dazzling and sometimes even lasted the length of an entire chorus. Also of note was the consciously abrupt finish on several tunes, which occurred in the most unexpected places and was always flawlessly tight.

You might also expect that with a banjo player some of the music would at least give a nod to bluegrass. Not so, and the audience was instead introduced to something exciting and new—contemporary jazz banjo, thanks to the incredibly adroit fingers and wildly inventive musical imagination of Bela Fleck.

As one might expect, this richly textured jazz music was definitely but delicately and deliciously seasoned with Indian spice—somewhat reminiscent of the seminal ’70s group Oregon, with a soupçon of CoDoNa’s engaging, outré aesthetics.

What a musical feast … just had to stay for a second serving!

—ROY STRASSMAN

Planned for worldwide release at the completion of her fall tour, Simrit’s new When We Return expands on the mastery displayed on her first CD a decade ago. The level of craftsmanship in the conception, recording, and production is stunning. Simrit’s vocals are deeply enveloping, even otherworldly, and rise above her dazzling instrumental support here in a way they cannot in her live shows. You will surely love riding the waves of her amazing voice here, flying free throughout.

Because her band has been touring the globe together seemingly nonstop for almost four years, it’s a well-oiled force that knows how to both lead and respond at every turn. Cellist Shannon Lee Hayden often plays live on a vintage cello from the early 1800s and creates sonic effects around it with a pedalboard. Salif Bamakora plays the West African kora, a gourd whose 21 strings made from fishing line generate a sound somewhere between a harp, guitar, and piano. Multi-talented jazz bassist Jared May plays electric bass, standup bass, and Moog synthesizer, while drummer Devon Ashley plays both a kit and hand drums.

Simrit’s vast array of musical influences tells the fascinating story of her life. It begins in Athens, where a young singer from a prominent musical family had to give up her newborn daughter. That child was adopted by a
Greek American couple who took Simrit, born Stavroula (aka Stefani), as a toddler to South Carolina. Her upbringing in the Greek community there laid a dynamic foundation for later musical endeavors, as she grew up learning traditional Greek dances and the Greek language and singing and chanting in the Greek Orthodox church choir, mesmerized by the chants and hymns.

Some artists can hear the resonances that bridge continents and souls. Simrit is one. She brings a true commitment to age-old meditations, urging everyone from pop stars to theater audiences to fall in love with the words of ancient sages. Some have called her epic and cinematic, grounded in groove yet with a transcendently mystical vibe. Grammy-nominated Indian devotional singer Snatam Kaur says, “For Simrit, singing is not a performance, it is sacred worship of the Divine.” Visit When We Return for a rewarding journey into inner worlds and outer possibilities that hold and nurture us all.

www.simrit.com

—L. B.

I like nothing more than hearing a new artist I’ve never encountered before. And this artist, Sam Garrett, takes the cake! His music is seriously joyful, deep and uplifting—every song, phrase, nuance, and note, bar none. Sam Garrett is an extraordinary songwriter on his way to the pinnacle. His voice floats and penetrates, graceful and inviting, a voice of our times that recalls Paul Simon, Miten, and surely Bob Marley. He hits the high notes and all the “oohs,” and his guitar playing is top-notch throughout.

There is an eternally pleasing quality to this album, inciting inspiration, tenderness, expansion, soulful possibilities, and the desire to play it endlessly on repeat. Sam’s lyrics are wholehearted, never trite, with a universality born of superb production, impeccable musicianship, and a flowing magic carpet with room for all.

The Dance and the Wonder is a beautiful listening experience. Sam brings a magical energy to these 14 amazing, thoroughly complete and original songs, including a couple of chant interpretations that lift the listener high
to the sky. His profound music has brought everyone with whom I’ve shared The Dance and the Wonder into a deep sense of belonging and
unity.

With his soulful voice, laid-back hippie charm, and skillful guitar playing, his melody-driven songs spread love and light to all. Be prepared to fall all the way in love with Sam Garrett. His earlier EPs and singles also measure up, but The Dance and the Wonder puts it all together. I have not been drawn this fully into someone’s music in a long, long time. Find Sam’s music on all platforms; contact me directly for CDs of The Dance and the Wonder.

facebook.com/samgarrettmusic

—LLOYD BARDE ([email protected])

The number of yoga books available today is staggering, and it can be difficult to decide where to invest our time and money. Based on my 40 years of study, I can say without reservation that Gravity and Grace will
reward your investment many times over. The subtitle—How to Awaken Your Subtle Body and the Healing Power of Yoga—tells us the book’s main focus is on the mysterious subtle realm of our current incarnation. What it doesn’t tell is the expert way Sterios transforms the traditional teaching—such as on the channels (nadis), “winds” or pranas (vayus), and “wheels” (cakras)—into a body of knowledge and practical instruction completely relevant and accessible to modern Western students. He does this, remarkably, while still respecting the tradition’s spirit, and so provides us with the best of both worlds. This is one of those rare books that belongs in the library of every serious student, no matter her/his experience or favored school.

—RICHARD ROSEN

Since when were summer blockbusters intimate heart openers overflowing with activist statements and juicy love songs? On her ninth full release, India.Arie pulls out all the stops, ranging between her potent calls to action like “What If” — pointing out that our forebears faced their own sizable obstacles and each generation should do the same — and love-honoring songs of pure romantic poetry.

Despite her unit sales, Grammy Awards, and indelible impact on neo-era soul, India. Arie Simpson still seemed compelled to water down her musical messages—up until now. When asked by Oprah Winfrey to pinpoint the moment that “unworthiness” became a mantra in her music, India unpacked her inhibitions, owned her instincts, and created the overdue and aptly named Worthy.

Steeped in her signature blend of folk, neosoul, and traditional R&B, India.Arie aligns her new collaborators (Chuck Butler, Joel Cross) with prior ones (Brandon Burch, Shannon Sanders) and shares catchy, well-crafted odes to humanity, Black Girl Magic, good love, and the turbulent times underneath it all. Fans of India’s delicate phrasing and throaty alto will find nothing amiss, from the whimsical “Follow the Sun” to the gentle yet resolute self-esteem mantra of the title track. Ms. Arie has even learned the art of not taking herself so seriously, adding pinches of relatable salt and sarcasm to “Shoulda Would Coulda.” Those who have seen her live in concert or tuned into You Tube’s many videos have the extra bonus of feeling her depth with a 3-D sense of connection.

No matter the topic—from today’s harrowing news trends (“Rollercoaster”) to meditative healing turns of melody (the lilting, Bob Marley-inspired “Prayer to Humanity”) and yes, even tributes to head-turning, toe-curling fantasy-men-turned-reality (“In Good Trouble,” “That Magic” and “Steady Love”)—Ms. Simpson has little left to prove. Refresh your soul and renew your relationships—to life, to love, to your own tender realities. SoulBird.com

—LLOYD BARDE (LLOYDBARDE.COM)

In Thriving as an Empath, psychiatrist and empath Judith Orloff, MD, has created 365 days of informative insights that offer empaths and all sensitive people self-knowledge, self-assurance, and the resilience needed to live in health and harmony.

Empathy is a blessing, yet unfortunately it can also feel like a curse. Compassionate empaths may become exhausted, anxious, and depressed if they don’t learn practical self-care to center and protect themselves.

Dr. Orloff’s book will help you stop absorbing other people’s stress and stay in your own power. It will inspire you to give up negative beliefs about yourself, while providing a path for taking back control of your life. The daily readings encourage sensitive people to pause for a few sacred moments every day to discover their true purpose and learn to connect more deeply with themselves and the creative force while taking responsibility for their own self-care.

This book is a daily companion to nurture your inherent sensitivity. Read it every day. It is a valuable resource to be kept nearby and referred to again and again.

—BRUCE H. LIPTON

Juan De Marcos and his exciting Afro-Cuban All Stars graced the Bay Area with a four-night stint at the SFJazz Miner Auditorium, their first in 16 months.

The story begins with 66-year-old bandleader Juan De Marcos-González himself, who, as a young man in his thirties, returned to his fulltime musical career after having already had a successful career in academia—he holds degrees in engineering (with a focus on hydraulics) and Russian and English languages, along with a doctorate in Agronomical Science.

Preferring solid white or dark suits, De Marcos lets his long dreads dangle like string theories below his signature matching beret. He looks like a Beatnik Cuban dandy and jazz hipster rolled into a giant—and lit—doobie.

He is quite the character. So as you might expect, it was a direct-to-the-heart joy to be regaled with fascinating stories of Cuban music by such an eloquently spoken, refined-yet-raw gentleman. When the audience wasn’t busy being astonished, it was roaring with delighted laughter. Some consider Mr. De Marcos to be the Quincy Jones of Cuba—for having modernized the lambent concept of the Cuban son septet with his late-’90s incarnation of Sierra Maestra, in which he played the traditional Cuban six-stringed Tres guitar; for his role as producer for under-recognized Cuban piano legend Rubén González’s first album; and finally for his seminal role in assembling the largely unrecognized aging musical treasures that would soon come to be known as the Buena Vista Social Club—a phenomenon of its time. De Marcos actually had this mission underway independently just weeks before American guitarist/producer Ry Cooder came to Cuba with just such a project in mind.

Turning to the music, the All Stars number 13, and but for his wife, singer Gliciera Abreu, are about half his age. They include his daughters Gliciera Marcos on electric vibes and Lidia Marcos on B-flat and bass clarinets. Lead singer Emilio Suarez is a Latin Fred Astaire who made the ladies swoon with his striking good looks and graceful dance moves. The other musicians were all Cubans, which should say all you need to hear about their musicianship—that is, they were kickin’ it and killin’ it.

They sailed expertly through many genres of Cuban music, including son, danzón, mambo, bolero, rumba, salsa, and even timba. When they began the son classic, “Lagrimas Negras” (Black Tears), with a salsa feel, the crowd instantly leapt to its mambo feet, and remained there while Messrs. De Marcos and Suarez danced suavely with female patrons, not only on the floor but even well up into the amphitheater’s aisles.

The show continued and finally concluded after more than two hours with the BV Social Club hit “Chan Chan.” These Cuban masters certainly know how to whip up a crowd, bringing the audience into paroxysms of joy, unity, camaraderie, and love. This audience turned out to be one of the most wildly enthusiastic that this reviewer has ever had the great pleasure to join.

—ROY STRASSMAN

Echoes of a Dream finds Marin-based New Age music pioneer Steven Halpern at his artistic peak. Uplifting melodies, ambient atmospheres, and exquisitely detailed production are sure to please old and new fans alike. The extraordinary vocals of Kristin Hoffmann are featured on the title track, adding new dimension to the blues-inspired chord progression. Grammy winner David Darling’s cello soars over a deeply resonant arrangement featuring Steven’s celestial Rhodes electric piano. Other tracks feature duduk, bamboo flute, and fretless bass (by Michael Manring).

Every track creates a ‘’natural high’’ as a portal to relaxation, mindfulness, and inner peace. Music tuned to a harmonic of the earth’s Schumann resonance (approximately 8 Hz) may amplify its healing potential. This album is tuned to A=432 Hz rather than the standard concert pitch of A=440 Hz.

Steven Halpern is the original new age artist, in the most accurate sense of the term. In 1975 he released Spectrum Suite, his first album of music specifically designed for relaxation and healing. Before that he had been immersed in the New York City jazz scene as a trumpeter and guitarist. Noting the adverse effects of life in the fast lane, he moved to California, where he perfected his idea of “anti-frantic alternative” music. Based partly on his metaphysical beliefs and partly on solid scientific research into the effects of sound on the human body, he came to the conclusion that the Western foundation of tension and release in music couldn’t by nature provide listeners with relief from stress.

He decided the answer was to create music that “didn’t go anywhere” in the traditional sense, but instead immersed the listener in a soothing atmosphere conducive to recuperative and transcendental experiences. As a result, he created music centered largely around cascades of major-key arpeggios improvised at the electric piano, adding generous helpings of reverb to create a spacey, other-worldly feeling. He took inspiration from Asian classical music and looked into the ceremonial, magical, and healing aspects of sound used by ancient cultures. He has released more than 50 instrumental and guided-meditation recordings, and has also written two books, Tuning the Human Instrument and Sound Health.

“Steven Halpern’s music has uplifted a generation of seekers. He has created a soundtrack for our evolutionary journey.” —Marianne Williamson.

StevenHalpernMusic.com

—L. B.

Zahira’s songs are harmonic pictures, creating a colorful soundtrack for life. Rise Up (2014) showcases Zahira’s diverse vocals and collaborations with Yami Bolo, Sky Juice (Black Uhuru), Val Douglas (Skatalites), Vince DiLorenzo (Usher, Patti Labelle), Soljie (Gentleman, Soja, Black Uhuru), Sol Rising, Rocker-T, Celso Alberti (Steve Winwood), and other talented musicians and producers. Rise Up features Zahira’s special blend of reggae, soul, and pop backed by world-class musicians, with positive lyrics infused with a playful and uplifting sound.

Zahira is a renaissance woman whose pure, powerful, and resonant voice has received rave reviews from fans and critics worldwide. Zahira can be seen performing in her solo liveelectronic project and with her live band Rising Buffalo Tribe, or as a guest vocalist with Indubious, who also featured Zahira on their track “Root Down” on their album From Zero.

With a style and tone described as a blend of Lauryn Hill, Madonna, and Erykah Badu, this inspirational songstress has created other tracks since Rise Up including “Ascension,” an anthem for revolution beyond genre, “Stand Strong,” a soulful reggae single, and a new roots reggae single with pop appeal, “Mystic One,” featuring Rising Buffalo Tribe.

Born and raised in Canada, Zahira embraced music at a young age and became a gospel choir soprano. When her family moved to the US, she focused on refining her natural talents and realized she was bound for a career in the arts. She studied jazz vocals and performance, and has trained in North Indian classical vocals, sound healing, performance, dance, and West African drumming. Aside from her native English, she writes and performs songs in Hebrew, Sanskrit, Arabic, Spanish, French, Michif (the language of her ancestors the Métis people of the US and Canada, descendants of First Nations women and European fur traders) and indigenous languages to share her message with the world, promoting healing and empowerment in response to assaults on human and environmental rights.

Zahira will be one of the headliners at the upcoming G-Fest: Goddess Rising 2019 in Mt. Shasta Aug. 2-5. Zahiramusic.com

—LLOYD BARDE ([email protected])

“The most ordinary act of creativity is spontaneous conversation—the art of listening and responding.”

Did you know that the rousing ending of Dr. Martin Luther King’s famous “I Have a Dream” speech was improvised? When King paused to look at his notes, the gospel singer Mahalia Jackson shouted “Tell ’em about the dream!” At this point, according to Dr. King’s speechwriter, Clarence B. Jones, “he pushed the text of his prepared remarks to one side of the lectern. He shifted gears in a heartbeat, abandoning whatever final version he’d prepared… he’d given himself over to the spirit of the moment.” What if you could truly give yourself over to the spirit of the moment in your everyday life? What incredible things could you achieve?

Musician and free improvisation pioneer Stephen Nachmanovitch is the author of one of the classic books on improv and creativity, Free Play, written more than 27 years ago. His second book, The Art of Is: Improvising as a Way of Life, published in April, takes the notion of improvising and creating to a scale beyond the individual. Nachmanovitch hopes not only to tune readers in to their own spontaneity but also to extend it into empathy for and collaboration with others.

Buddhism comes into the mix as Nachmanovitch expounds on ancient stories and koans of the Buddhist tradition and relates them to the creative, synergistic act of improvising. He also delves into nature and how exploring he natural world can help us learn to think as nature does, asking the question, “What is it to behave in a natural, spontaneous way?”

—MONIQUE M. MUHLENKAMP