The Haden Triplets —Petra, Tanya, and Rachel—are three sisters “in love with the art of singing,” describes NPR Music, with a “traditional tone and effortless voices that only siblings can produce.” The daughters of world renowned bassist Charlie Haden, the Triplets share a common love for American country and traditional songs. Their self-titled 2014 album was produced by Ry Cooder (Jack White’s Third Man Records), and they’ve performed as the Fates on Anais Mitchell’s Hadestown. They have also performed or recorded with The Foo Fighters, Todd Rundgren, Beck, and Weezer. On their own, Petra is a member of Bill Frisell’s band, and can be heard on her a cappella album Petra Haden Sings: The Who Sell Out, as well as Megan Mullally’s band, Nancy And Beth. Tanya is a multidisciplinary artist, and Rachel has performed with The Rentals and will have new music out with her band That Dog. The Triplets’ new album will be out in 2020.
From funk-laced beats and bass-heavy sousaphone blasts to the gritty warmth of singer J’Wan Boudreaux’s voice, New Orleans brass band-meets-Mardi Gras Indian outfit Cha Wa radiates the energy of the Crescent City’s street culture.
Enchanted by the music and traditions of the Mardi Gras Indians, Cha Wa’s Grammy-nominated album Spyboy (a nod to frontman J’Wan Boudreaux’s role in the Golden Eagles) is a modern mix of fiery, toe-tapping sounds and highlights the musicians’ personal ties to the street music of their hometown. “We wanted to take the roots of what we love about New Orleans brass band music and Mardi Gras Indian music and then voice it in our own way,” says the group’s drummer and founder, Joe Gelini.
Black String creates a unique musical language that embraces traditional Korean music, American jazz, chanting, and improvisation. The group features Yoon Jeong Heo (geomungo—Korean traditional zither), Jean Oh (electric guitar), Aram Lee (daegeum, sogeum—Korean bamboo flutes), and Min Wang Hwang (ajaeng—Korean traditional zither, janggu—Korean drum), and together they captivate audiences’ senses with amplified bursts of the geomungo and Korean bamboo flutes, the fierce quake of Korean traditional percussion, and unpredictable jazz guitar melodies.
Founded in 2011 as part of government-sponsored Korea-UK cultural exchange program titled “UK Connection,” Black String has performed at WOMEX, London Jazz Festival, Winter Jazzfest, and many more world-renowned festivals and venues. They are also the 2017 Korean Music Award winner for best jazz and crossover performance and the 2018 Songline Music Award winner in the Asia & Pacific category.
This program is supported in part by the Korean Foundation for International Cultural Exchange as part of Traveling Korean Arts Program, and Korean Cultural Center, Los Angeles. Black String’s tour is organized by SORI.
Dengue Fever are recognized for their trademark blend of 1960s Cambodian pop and psychedelic rock. The roots of the band began in the late 1990s with a six-month trek through Southeast Asia by keyboardist Ethan Holtzman. Returning to Los Angeles, Holtzman and his brother Zac bonded over their love of vintage Cambodian rock and in 2002 founded the band with saxophonist David Ralicke (Beck/Brazzaville); drummer Paul Dreux Smith; and bassist Senon Williams (Radar Brothers). Cambodian singing star Chhom Nimol joined when she realized the band shared a genuine passion for the music and culture of her homeland. Their music is a cross-pollination of Khmer rock, garage rock, psychedelic rock, and the British Invasion sound that has pushed the band to heights they could only dream of.
Dengue Fever’s music have appeared in films such as City of Ghosts and The Hangover 2 as well as television series True Blood, Weeds, and CSI: Las Vegas.
This presentation is in partnership with La Jolla Playhouse and their production of the play Cambodian Rock Band (showing Nov. 12 – Dec. 15, 2019), which features the music of Dengue Fever. The cast will perform selected numbers from the show as a curtain raiser.
This event has been cancelled. Our Box Office will be calling to process refunds. If you have any questions or concerns, please contact the UC San Diego Box Office at 858-534-8497 or email firstname.lastname@example.org.
“A new-breed marching band music that’s part Punjabi wedding, part New Orleans second line, and all New York.”—Boston Globe
Red Baraat Festival of Colors is an immersive celebration of the Hindu holiday of Holi through music, dance, and visuals. Red Baraat has taken the spirit of the festival to the next level: a year round show of communal revelry that brings together what NPR has called “the best party band in years,” a montage of classic Bollywood visuals, and a fiery dancer.
Traditionally, Holi is marked by public gatherings of families and strangers sharing songs, dance, and the exchange of “colors”— colorful dry powder or colored water playfully thrown among the crowds of revelers. It signifies the victory of good over evil, the arrival of spring, and for many, a festive day to meet others, play and laugh, forget and forgive, and repair ruptured relationships.
Red Baraat Festival of Colors debuted in 2012 at a sold out Le Poisson Rouge in New York City, and it has since expanded to over a dozen cities in the United States. Returning to its roots of just brass and drums and complete in colorfully painted white jumpsuits plus a dancer, Festival of Colors is a full- blown immersive experience as the band, the visuals, the dancer are like a mélange of colors, each bold on its own but commingling to form a stunning panorama.
“Sergio Mendoza is one of the great innovators of the Arizona music scene.”—Guardian
Led by multi-instrumentalist and bandleader Sergio Mendoza (Calexico), Orkesta Mendoza fashion borderless sounds that span the Americas, embracing mambo and cumbia with the same vigor as psychedelic pop, twang rock, and analog electronics.
Originally formed as a tribute to “King of Mambo” Pérez Prado, Orkesta Mendoza plays music that explores a myriad of directions, rhythms, and moods, delivering big-band orchestrations mixed with lo-fi electronica, vocals en Español, and moving instrumentals. Epic and soulful, they truly capture the positive spirit of the Southwest.
Featuring Petra Haden, Thomas Morgan, and Rudy Royston
Hailed as “the most innovative and influential guitarist of the past 25 years” (Wall Street Journal), Bill Frisell has seen collaborations with the likes of Elvis Costello, Bono, Paul Simon, and the Los Angeles Philharmonic over the course of his 35-year career. His Grammy-nominated album When You Wish Upon a Star features his arrangements and interpretations of music for film and television. The album is more than an homage to a set of iconic scores; Frisell draws upon the sentimentality of music heard on screen and how it shapes and informs our emotional relationships to what we see. The guitarist will be joined by bassist Thomas Morgan, drummer Rudy Royston, and singer Petra Haden in reimagining time-honored gems like “When You Wish Upon a Star” and “Somewhere Over the Rainbow,” as well as music from television favorites, including The Dick Van Dyke Show and The Honeymooners.
ArtPower regrets to inform you that Bassekou Kouyate and his musicians have not received their visas to come to the U.S for their February 26 concert at ArtPower. We are pleased to have Habib Koité and his percussionist able to share their duo performance as originally scheduled. Habib is a fabulous solo performer that we’re certain you will enjoy. Thank you for your understanding and our apologies for the difficulties.
If you have decided not to attend the concert due to programming change, we would be happy to process a refund. Please contact the UC San Diego Box Office directly regarding your tickets at 858-534-TIXS (8497). They are open Monday through Friday from 10 am to 4 pm.
One of Africa’s most recognized musicians, Mali’s pop icon Habib Koité has a deep and varied musical vocabulary, blending Afro-pop with jazz, rock, and even classical. His intimate vocal delivery blends beautifully with both the modern and ancient musical traditions from which he derives his inspiration. Koité is joined by Bassekou Kouyate, Malian musician and master of the ngoni, a traditional African lute. Time Out says, “Ngoni virtuoso Bassekou Kouyate can make notes bend like light rays in the desert heat.”
Together, Koité and Kouyate exemplify the shared experience associated with the historical, cultural, and unifying properties of Malian music. Kouyate’s comfort in a vast array of musical settings actively complements Koité’s presence, resulting in a spirited collaboration that brings innovation and a sense of unity.
“A band that deserves to be seen live.“—NPR
Mokoomba is one of Africa’s most exciting young bands, dazzling audiences worldwide with their knockout live shows and electrifying blend of Afro-fusion and tantalizing traditional Tonga rhythms. “Mokoomba” is a Tonga word that connotes the deep respect Tonga people have for the Zambezi River and for the vibrant life that it brings to their music and culture.
The Zimbabwe-based group’s latest album, Luyando—a stripped-down, mostly acoustic album— took critics by storm. Mokoomba have rocked legendary rooms and stages worldwide, from New York City’s Apollo Theater and the Kennedy Center in Washington, D.C., to London’s 100 Club and Amsterdam’s Melkweg, to WOMEX and SXSW, sealing their reputation as one of Africa’s best young live bands.
A young African American man is stopped by the police without clear cause. Again and again and again. The tenth stop leads to entanglements with the courts, jail, and attorneys, with potentially life-changing results. In Spiritrials, addiction, religion, and the law intersect in a court-ordered drug rehabilitation program.
Dahlak Brathwaite’s incisive humor transforms a chilling personal story into a vital performance that layers character-driven storytelling and poetic verse with original songs to create a hybrid hip-hop drama, accompanied by beats from DJ Dion Decibels. A virtuosic and timely exploration of the criminal justice system, Spiritrials chronicles the journey of Brathwaite’s own criminalization along with his struggle to be vindicated and decriminalized in the eyes of the law and society. The piece works through the personal shame of criminal stigmatization to examine the factors—both internal and external—that have misplaced him in what appears to be a cultural rite of passage.