What To Stream This Week

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SFJAZZ is set to rebroadcast a performance by Maceo Parker on New Year’s Eve.

(Photo: Simone Quattrociocchi/CC BY-SA 3.0)

As performers look to replace income from lost gigs and regain a sense of community amid the coronavirus pandemic, a number of musicians are using online streaming services to connect directly with fans. We’ll keep a running tab for the week below.

A fee is associated with some of the material listed here, and several items have been sourced from WBGO. DB

Dec. 28: Lafayette Gilchrist

Dec. 28: Steve Turre

Dec. 28: Jon Beshay Quartet

Dec. 29: A Live Virtual Chat With Women Leaders In Jazz

Dec. 29: Spike Wilner Quartet

Dec. 29: Eva Novoa

Dec. 29: Allan Harris

Dec. 29: Buster Williams Quartet

Dec. 30: John Chin Quintet

Dec. 30: Louis Hayes Cannonball Legacy Quartet

Dec. 30: Tim Berne/Scott Colley/Nasheet Waits

Dec. 31: Lucinda Williams

Dec. 31: Emmet Cohen Trio

Dec. 31: Hiromi

Dec. 31: Chris Potter Quartet

Dec. 31: Johnny O’Neal

Dec. 31: Pink Martini Holiday Spectacular

Dec. 31: The Jungle Show With Billy F. Gibbons, Jimmie Vaughan & Sue Foley

Jan. 1: Chris Potter Quartet

Jan. 1: Maceo Parker

Jan. 1: Corey Wallace Dubtet

Jan. 1: Jake Shimabukuro

Jan. 2: David Gibson Quartet

Jan. 3: Bill Heid Trio

Jan. 3: Ralph Lalama & Bop-Juice

Updated Dec. 29



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    “She said, ‘A lot of people are going to try and stop you,’” Sheryl Bailey recalls of the advice she received from jazz guitarist Emily Remler (1957–’90). “‘They’re going to say you slept with somebody, you’re a dyke, you’re this and that and the other. Don’t listen to them, and just keep playing.’”

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    As Ted Nash, left, departs the alto saxophone chair for LCJO, Alexa Tarantino steps in as the band’s first female full-time member.

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    Larry Appelbaum with Wayne Shorter in 2012.

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    “If you don’t keep learning, your mind slows down,” Coleman says. “Use it or lose it.”

  • Coltrane_John_008_copy_2.jpg

    “This is one of the great gifts that Coltrane gave us — he gave us a key to the cosmos in this recording,” says John McLaughlin.


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