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Flea Finds His Jazz Thing
In the relatively small pantheon of certifiable rock stars venturing into the intersection of pop music and jazz, the…
George Benson and Ledisi sing a duet rendition of “Moody’s Mood For Love” at this year’s SFJAZZ gala.
(Photo: Drew Altizer Photography)Since its founding in 1983, the non-profit SFJAZZ organization has bestowed Lifetime Achievement and Beacon Awards during its annual fundraising galas. Instrumentalists such as Herbie Hancock and the late Zakir Hussain have been recognized, as has an organization (Preservation Hall), a singer-songwriter (Joni Mitchell) and a producer/music executive/bassist (Don Was).
SFJAZZ tripled the honors for its 2026 gala on May 7 and raised $2.1 million in the process: Guitarist-vocalist George Benson received a Lifetime Achievement Award, while Miles Davis and John Coltrane were recognized for their centeniaries.
An audio interview of Davis opened the weeknight program segueing into an SFJAZZ Collective performance of his composition “Milestones.” Trumpeter Mike Rodriguez’s burnished solo was a highlight, with simpatico support from his longtime bandmates Stefon Harris (vibraphone), Edward Simon (piano), Matt Brewer (bass) and Kendrick Scott (drums).
SFJAZZ CEO Gabrielle Armand and Executive Artistic Director Terence Blanchard then walked out to formally open the evening. “Tonight is all about milestones. Here at SFJAZZ, we’re experiencing one of our own, building on the extraordinary foundation that has brought us up to this moment,” Armand said, going on to reveal that SFJAZZ plans to expand through increased support for musicians, students, local communities and audiences.
Coltrane’s legacy was first to be fêted, with alto saxophonist Lakecia Benjamin backed by the Collective’s rhythm section on “My Favorite Things.” A saxophone-drums duo segment helped bring her interpretation to an intense conclusion.
Crowds can tune out during segments where event organizers make remarks. But there were personal ties to the honorees that made for compelling storytelling: Gala Chair Lisa Jackson mentioned growing up “down the street and right around the corner” from Blanchard. And later, Gala Chair Divesh Makan shared stories from his youth about selling speakers at his father’s electronics store in South Africa and playing Benson’s “Gimme The Night” or “Turn Your Love Around” to seal the deal with potential customers.
Alto saxophonist Tia Fuller navigated Coltrane’s “Giant Steps” with members of the Collective again serving as the rhythm section. Her fluid tone belied the composition’s notorious difficulty.
Fuller and Benjamin returned after a philosophical introduction by tenor saxophonist/multi-reedist and SFJAZZ Collective alumnus Joe Lovano and joined the current Collective roster minus its two saxophonists. (David Sánchez sat out, and Music Director Chris Potter was unavailable for the date altogether.) A medley of Coltrane’s “Impressions” and Davis’ “So What” set the table for the second portion of the program, which was devoted to the latter.
Alto saxophonist, 2024 NEA Jazz Master and current Bay Area resident Gary Bartz recounted his hesitancy to join Davis’ electrified band after receiving a call from the trumpeter in 1970, and his gratitude that he ultimately did. Trumpeter Keyon Harrold, who famously captured the spirit of Davis’ playing on the score for Don Cheadle’s Miles Ahead feature film, joined Simon, Scott and Christian McBride on upright bass for “Blue In Green” before yielding to a trade-off of “All Blues” (mainly Harrold) and “Someday My Prince Will Come.”
Sánchez returned to join that quintet for John Lewis & Dizzy Gillespie’s “Two Bass Hit.” McBride’s spirited arco solo — something heard too rarely in concert these days — was a surprise delight.
Sitting above the left side of the stage offered a unique perspective of the night’s teleprompter and digital countdown clock. Peeking at the former gave insight into when speakers were going off script, the latter when solos went on longer than planned. (Scheduled to be a tight 90 minutes, the gala stretched out to the two-hour mark.)
Blanchard remained after the other musicians exited and extemporaneously acknowledged Danny Glover’s presence in the building. Even SFJAZZ Board of Trustees Chair Molly Joel Coye momentarily went rogue and acknowledged how the Board is thrilled to work with Armand, who joined the organization last July.
Late-era Davis was revisited with bass guitarist Marcus Miller joining guitarist/vocalist Isaiah Sharkey, Blanchard, Harrold, Fuller, Harris, Simon (switching to keyboard) and Scott for an inspired version of “Hannibal” from the 1989 album Amandla. Miller’s rumbling, fleet-fingered solo was a reminder of his link back to Davis’ mid-’80s-and-beyond final statements.
As far as awardees go, one couldn’t ask for a more ideal one than George Benson. Humble, charming, humorous, charismatic and accomplished, the octogenarian has gone through various creative phases à la Coltrane and especially Davis.
Most may remember his time coming up with organist Jack McDuff in the early ’60s or his crossover and pop hits in the ’70s and ’80s. And many know that he recorded on “Paraphernalia,” which was a part of Davis’ 1968 Miles In The Sky album and preceded a host of guitarists who recorded and gigged with the trumpeter that included John McLaughlin, John Scofield and Mike Stern.
But as he gave his acceptance speech, completely sans teleprompter, McDuff recalled being mentored by Wes Montgomery and Coltrane. He also spoke of opening for Thelonious Monk at the Village Vanguard and chatting with him in the venue’s famed kitchen, where the legendary pianist and composer told him he reminded him of his favorite musician, Charlie Christian.
Benson sat stage right on a tall chair as Sharkey, Simon (remaining on keyboard), Miller, Scott and pianist Randy Waldman, his music director, serenaded him with “Breezin’.” He smiled radiantly and pointed at Sharkey in pure encouragement and perhaps even anointment. Richard Bona joined the musical merriment for “This Masquerade,” the Leon Russell song that netted Benson a Record of the Year Grammy in 1977.
Benson gave the audience what it wanted at the evening’s end by performing twice. He was purely a vocalist who sang “Moody’s Mood For Love” and flexed his scatting chops with McBride on bass and vocalist Ledisi as an unannounced duet partner.
The concluding number, “Gimme The Night,” proved to be a singular moment. Miller, Bona and McBride all held down the low end on bass guitars as the Co-LLAB choir unexpectedly popped up from the rear terraces seats to harmonize, dance and clap like benevolent sleeper agents.
The original “Gimme The Night” music video played simultaneously on the house visual system, which begged the question: Who’s cooler, the 1980 version of Benson, who roller skated on the Venice Beach Boardwalk while playing guitar and drove a Rolls Royce down the streets of Southern California, or the 2026 one who brought the same energy to the now-classic Rod Temperton tune at age 83?
After taking in SFJAZZ’s 2026 gala, it would be hard to call it anything but a draw. DB
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