September 3-4

Nachito Herrera

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Nachito is one of the world's great Cuban pianists. His jaw dropping technique and the rich, powerful soulfulness of his playing blend in what is often an amazing display of musical power and emotion. Although he has been residing in Minnesota for the past few years, his renown is growing. He has played at the preeminent piano festival in North America, the Gilmore Festival, twice in a row and they are bringing him back. He performed recently at Joe's Pub in New York, and just completed a 40 city tour of American performing arts centers and theaters as the pianist in the Afro-Cuban All-Stars. We don't know how much longer his historically regular Dakota performances will last, as he is traveling more and more. In June, he was flown to Singapore for one 90 minute show.

Nachito • Show Stopping Solo with the Afro Cuban All-Stars at Town Hall in New York on You Tube

Nachito Herrera's pianistic prowess was recognized early on, performing Rachmaninoff's Piano Concerto No. 2 with the Havana Symphony Orchestra at age 12. Combining Western Classical music with traditional Cuban rhythms, Herrera has been at the forefront of an exciting renaissance in Cuban music. While in his twenties, Herrera took the job of Musical Director at the famous "Tropicana" nightclub in Cuba, playing every night and deepening his repertoire. He spent the late 1990s touring with Cubanissmo, serving as lead pianist, arranger, and musical director and touring the world. Since moving to the Twin Cities in 2001, Herrera has been an invigorating presence in the music community, and a fixture here at the Dakota. His most recent recordings, Live at the Dakota, Vol 1 and 2, are available here.

“Hotter than the burning tip of a contraband Cuban cigar. Stronger than a straight shot of Havana rum. As exciting as a World Series game, with ‘El Duque’ on the mound. Explosive. Crowd pleasing. Rhythmically intense. Romantic. Dynamic. Jaw-droppingly good.” - Tom Surowicz, Minneapolis Star-Tribune

Nachito will be re-joined this weekend by his daughter, Mirdalys, whose maturing talent is starting to echo Nachito's powerful performances.

"His 18-year-old daughter, Mirdalys Herrera, began the show with grand, soaring vocals, her pianist father creating a storm beside her. Herrera made use of a grand piano, a synthesizer and even a cowbell. Yohannes Tona plucked out heavy funk on electric bass, and Kevin Washington backed it all with solid drumming. The musical stew, with Mirdalys' amazing voice, was evocative of a funky Cuban mysticism." - Mark Wedel, Kalamazoo Gazette 7/30/08 Read the entire review of this Gilmore Keyboard Festival performance ... "As magnificent as is Nachito throughout this set, he is nearly upstaged by his daughter’s vocal incantation on Mercedita Valdes’ 'Babá Fururú.' Hayo starts off on congas, providing a tribal/folk vibe of anticipation; he is joined by Nachito’s solemn, almost hymnal phrases that hint of thunder, a passage reminiscent of Gonzalo Rubalcaba. Sounding like a cantorial sorceress conjuring the Gods, Mirdalys Herrera gives a ceremonial performance, her voice powerful and penetrating. One can imagine a mythical Yoruban Princess, especially when her only accompaniment is the congas. The rest of the cast serves as the chorus; the piano sounds the final benediction as the crowd erupts." - Andrea Canter, Jazz Police Hear Nachito on You Tube • 1 Hear Nachito in Los Cabos on You Tube • 2 Yohannes Tona • "Sand from the Desert"

"Ignacio “Nachito” Herrera steps onto the national stage as a fully evolved artist, brimming with confidence, in total command of a vast array of traditional and contemporary Cuban idioms" - AllAboutJazz

September 5

Rene Marie

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"...a jazz singer with the talent, the imagination and the sheer presence to be included in the very top level of performers." -L.A. Times

“…Sheer brilliance…one of the most sensuous songbirds ever captured on disc. Marie’s torch burns hotter and oft-times brighter than any of her peers.” -Christopher Loudon – Jazz Times

One of the most electrifying vocalists to hit the national scene in recent years, Marie has established herself as a fearless performer with astonishing vocal and emotional range. When performing Standards and selections from the Great American Songbook, she puts her own unique twist on each one, giving the music a much-needed breath of fresh air. Marie's original tunes put her in a class by herself, and her unique rearrangements of other songs shed new light on them and make them sound new and original. "Marie is cut from similar cloth as blues singer Bettye Lavette. Both women sing as if they have nothing to lose, nothing to fear. They give it their all." read the rest of Pamela Espeland's MinnPost preview here

“Great art comes from taking chances. Jazz vocalist René Marie takes some doozies...“ –Miami Herald
"Marie is in the top tier of living female jazz vocalists and her performances continue to prove that point." -All About Jazz



• a very subtle "Thanks, I Don't Dance"

• a clip from her fusing of Ravel's Bolero with "Suzanne"

September 6-7

Ramsey Lewis Trio

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One of the legendary pianists in the history of jazz, Ramsey Lewis transcends superlative. Classically trained, he has lent his brilliant technique to the vast musical treasures of gospel and blues music, becoming one of the most accessible and widely respected pianists in music. Winner of three Grammy Awards and the recipient of an amazing 7 Gold Records (unheard of in the jazz world), Mr. Lewis is recently the recipient of a number of Lifetime Achievement Awards. He has been granted four Honorary Doctorates, and in 2007 he earned a National Endowment for the Arts Jazz Masters Award.

"...the balance between straightforward and intricate is pretty near perfect." -BBC

"Anyone who thinks this group is about resting on laurels, delivering hits, and playing it safe is mistaken." a fantastic review by Pamela Espeland of Mr. Lewis's last visit to Minnesota in August 2009 Lewis began taking lessons at age 4, learning the basics and studying fundamental classical technique and repertoire. He didn't start playing jazz until age fifteen, when a fellow church musician talked him into joining a local 7-piece group. When several members of the group left for the Korean War, Lewis was left with the bass player and drummer: his first trio. Acutely aware of the power of pop music with younger audiences, Lewis brought those lessons to his early recording sessions: his instrumental versions of "Wade In the Water," "Hang on Sloopy" and "In With the In Crowd" are as definitive and as popular as the original recordings themselves.
more of his story at ramseylewis.com
Consistently active in his Chicago community, Mr. Lewis has served as director of the Ravinia Jazz Series since 1992. He is also on the Board of Trustees at the Merit School of Music, an inner-city music program in downtown Chicago, and is a member of the Loyola University Council of Regents. The Ramsey Lewis Morning Show broadcasts weekdays on WNUA-FM Chicago, and is syndicated nationwide, as is his other radio show, "Legends of Jazz with Ramsey Lewis."
"in a word, astonishing." -Jazz Times
"the tone is dulcet and the ideas well organized, multifaceted and almost casually enlightening." Read the rest of Britt Robson's interview in the Star Tribune here
"...his gospel references were elevated and precise, enlisting a rousing backbeat but never fraying around the edges." New York Times


• "In Crowd," from the Montreal Jazz Festival

• another classic pop tune, "Hang On Sloopy"

September 9

Hot Club of Detroit with Connie Evingson

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Connie Evingson, vocals Evan Perri, guitar Paul Brady, guitar Julien Labro, accordion Carl Cafagna, saxophone Andrew Kratzat, bass

More than seven decades after the innovations of the Quintette du Hot Club de France, featuring guitar virtuoso Django Reinhardt, combos called Hot Clubs carry on the gypsy jazz sound around the globe—in Tokyo, San Francisco, Seattle, Sweden, Norway, Austria, and many other locales. None, however, offers a fresher take on the tradition than does the Hot Club of Detroit, led by fast-fingered Reinhardt disciple Evan Perri.
Unlike the instrumentation of original Paris-based quintet, comprising Reinhardt, violinist Stephane Grappelli, two rhythm guitarists, and a bassist, the current Hot Club of Detroit is made of guitarist Perri, accordionist Julien Labro, soprano and tenor saxophonist Carl Cafagna, rhythm guitarist Paul Brady and bassist Shannon Wade. The fibrous accordion tones of Labro, a native of Marseilles, France, links the Detroit quintet to the French musette style from which gypsy jazz partially sprung, while Cafagna’s robust saxophone work introduces bop and post-bop elements to gypsy jazz.

One of the Twin Cities’ favorite vocalists, Connie can swing the standards with the best of them. And she can hold her own with a Beatles book. And she sounds great in a hot club/gypsy jazz setting. She has recorded CDs with all of these projects and more, and her newest, Little Did I Dream, finds her in familiar territory. A collection of songs by former St Paul native Dave Frishberg, Connie revisits his classics like “Peel Me A Grape” and “My Attorney Bernie” as well as shedding light on some lesser known tunes. She retains his inimitable cleverness in her phrasing, as well as letting her band shine. She has “her own delicious sense of swing, silken phrasing and sense of adventure” - City Pages

September 12

Turtle Island Quartet

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One of the most exciting ensembles in classical music, this quartet has redefined the term “classical crossover.” The group fuses the classical quartet aesthetic with contemporary American musical styles, and their recent project finds them exploring the vast musical terrain of Jimi Hendrix. Violinists David Balakrishnan and Mads Tolling, violist Jeremy Kittel, and cellist Mark Summer are the recipients of Grammy awards in 2006 and 2008 in the Classical Crossover category. Keep up with the TISQ at their website An interesting element inherent in the group’s philosophy is the incorporation of improvisation into their music. The improvisatory element, an important performance practice of the Baroque period and highly regarded when Joseph Haydn put together the first string quartets in the late 18th Century, seems a forgotten art among “classically trained” musicians. The TISQ makes this an integral part of their sound, adding another layer to their crossing of cultural boundaries. “It must have been like this when Beethoven was taking Vienna by storm- the exhilaration of seeing the future of classical music unfold before your eyes and ears.” -St. Louis Post-Dispatch

• "On Green Dolphin Street"

• "Seven Steps to Bach," mixing Miles Davis and J.S. Bach

September 13-15

Aimee Mann

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"Mann has a lustrous voice that catches the light like a diamond." -Guardian UK From her days with influential new-wave band Til Tuesday to her acclaimed solo work, Mann has been recognized as one of the foremost contemporary singer-songwriters for nearly 30 years. Known for her clever, literate, and dryly witty takes on emotional sabotage and self-destruction, Mann is a songwriter of unparalleled vision.

• a great performance of "Wise Up"

• the video from her 2008 hit single "Freeway"

September 16-17

Joe Sample & the Jazz Crusaders feat. Gerald Albright

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With a sound rooted in hard bop and an emphasis on R&B and soul, The Crusaders are one of the most commercially successful bands in the history of jazz. Founding members Joe Sample, Wayne Henderson and Wilton Felder hit on a brilliant idea in the mid-1960s: the blending on inventive jazz and get-down rhythm-and-blues.

• a Crusaders classi "Inherit the Wind"

September 19

Marty Stuart: solo acoustic

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Long revered as one of the most accomplished and eclectic musicians in Country music, 4-time Grammy Award winner Marty Stuart has been at the top of the game for nearly 4 decades. From his beginnings as a 13-year old mandolin player in Lester Flatt's band, to his frequent collaborations with Johnny Cash and solo country hits in the early 1990s, Stuart seen a wide variety of performing situations. This guitarist, mandolinist, violinist and vocalist brings his show to the small stage for one incredible evening.

• Marty plays "Dark Bird" and tears it up on the mandolin

• Marty backing up Johnny Cash on a classic Soundgarden tune

• Marty jamming with Brian Setzer and Ricky Skaggs

September 20

Michelle Shocked

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Michelle Shocked is one of the most unique artists of her generation. A focused, erudite songwriter, Shocked's songs hold fast to a definite core, but owe no stylistic allegiance to any single genre. One of the great success stories of the 1990s, Shocked rose to fame independently of major label support, an unheard-of feat even 15 years ago. This focused, erudite singer-songwriter is touring in support of her thirteenth album, Soul of My Soul. With folk tendencies showing through, this is no-frills rock and roll that conveys her passionate messages perfectly. More about the new record at http://www.michelleshocked.com/

• "Liquid Prayer" from a recent show

• the video from her first big hit, "Anchorage"

September 21-22

Esperanza Spalding’s Chamber Music Society

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"Spalding is obviously star material of the first order, the kind of performer whose passionate, uninhibited absorption in what she's doing ineluctably lures you into her world." -Paul de Barros, Seattle Times "The Esperanza Spalding experience is light, melodic, joyful, always sort of minimalist and airborne." -New York Times 24-year old bassist-vocalist Esperanza Spalding is taking the jazz world by storm, and she’s doing it her own way. A preternaturally gifted musician, Spalding taught herself violin before moving to the bass at age 15. She shot through the ranks in her local orchestras before attending the Berklee College of Music. Not only did she graduate in an amazing three years, Berklee hired her as an instructor at age 20- the youngest faculty member in the history of the school. In addition to her own quartet, she performs regularly with Joe Lovano, and has appeared with David Samuels, Patti Austin, and Pat Metheny.

lots of information at esperanzaspalding.com If her first record, Esperanza, marked a brilliant beginning for this gifted young artist, then Spalding’s August 2010 release, Chamber Music Society, sets her on an upward trajectory to prominence. Inspired by the classical training of her younger years, Spalding has created a modern chamber music group that combines the spontaneity and intrigue of improvisation with sweet and angular string trio arrangements. The result is a sound that weaves the innovative elements of jazz, folk and world music into the enduring foundations of classical chamber music traditions. Co-produced by Esperanza and Gil Goldstein (with string arrangements provided by both), Chamber Music Society finds Esperanza with a diverse assembly of musicians: pianist Leo Genovese, drummer Terri Lyne Carrington, percussionist Quintino Cinalli, guitarist Ricardo Vogt, and vocalists Gretchen Parlato and the legendary Milton Nascimento. The string trio is comprised of violinist Entcho Todorov, violist Lois Martin and cellist David Eggar.

• Esperanza Spalding on CBS "Second Cup Cafe"

• "Body and Soul"

September 26

Ely Guerra

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"Instantly recognizable once heard, Guerra's sensual voice cracks, coos, and takes flight." -Ted Hendrickson, Amazon.com Monterrey, Mexico-born alt-rocker Ely Guerra is one of the most original and arresting musicians Mexico has produced and one of its most intriguing songwriters. Ms. Guerra sings about passion: gazing at it from a distance, then plunging into the turbulence. Her songs incorporate rock, electronica and the torchy emotion of Mexican pop in a shifting balance of poise and obsession. "Only a language barrier separates Ms. Guerra from fans of Portishead, The Cowboy Junkies or P.J. Harvey." -New York Times Her songs are magnificently unpredictable. She sings long nonverbal passages that seem to ponder things she cannot say. Amid volatile desires, Ely’s songs seek not calm but equilibrium, a shifting harmony. She balances contemplation and ardor, poise and clout, in songs that could be serene or fiery within moments. Already a star in Mexico, she has released a number of acclaimed albums. 1999's Lotofire was recorded in New York with a cast of well-known musicians: guitarists Marc Ribot and Chris Whitley, bassists Melvin Gibbs and Greg Cohen, and violinist Eyvind Kang. Her latest album, Hombre Invisible, reached #1 on iTunes Mexico before being released in the US in June 2010.

• an acoustic version of one of Guerra's hit singles, "Peligro"

• "Stranger," a video from her latest album

September 30

Charles Lloyd New Quartet

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Charles Lloyd, saxophone Jason Moran, piano Reuben Rogers, bass Eric Harland, drums "A magic formula for an intense musical encounter." -Telerama Paris One of the giants of jazz saxophone, Charles Lloyd's appearances have been rare and special since the late 1960s. Lloyd's commanding presence and mercurial ideas have changed the face of jazz, and his influence and experimental nature are still growing.

"I know the winds of grace are always blowing. I must raise my sails high enough to catch the breeze." - Charles Lloyd

Those "sails" rise from Lloyd's horn until they fill and are filled by the air, at times becoming a gale force that sweeps all within hearing into a swirling, rapturous ride.  The intensity of Lloyd's music doesn't derive from volume or speed, but from spiritual depth and passion. Lloyd made his recording debut in 1961 as a member of the Chico Hamilton Quintet, and gained a strong reputation for his lighter-toned tenor playing, as well as his unique flute phrasing. He played briefly with the Cannonball Adderley Sextet before forming his own quartet in 1965. This group, featuring Keith Jarrett on piano, Cecil McBee on bass, and Jack DeJohnette on drums, quickly became a favorite of the West Coast scene and toured internationally for three years. Lloyd's searching solos, influenced by sitar players and Indian druhpad singers as well as being melodic and blues-based, led to inevitable John Coltrane comparisons. Upon this group's split in 1968, Lloyd went into semi-retirement, focusing on meditation and living in California. Pianist Michel Petrucciani coaxed Lloyd out of retirement in 1982, and his style and sound seemed unchanged from his 60s recordings. This led to a renaissance in Lloyd's career, and a number of new musical relationships to explore: Lloyd spent several years collaborating with pianist Bobo Stenson, and captured legendary drummer Billy Higgins' last years wonderfully on two recordings (The Water is Wide and Hyperion with Higgins). His 2004 Higgins tribute tour, featuring Indian tabla legend Zakir Hussein and drummer Eric Harland was met with high praise wherever they appeared. This new quartet (appropriately titled New Quartet) marks a new chapter in this visionary artist's journey, and promises to be a very special evening.

"A commanding presence, Charles Lloyd has matured to emerge as a messenger of the music. Paralleling Trane [John Coltrane], the company Lloyd has kept (i.e. Billy Higgins) ultimately validates his spirituality." - Fred Jung, AllAboutJazz.com

• a closer look at "Mirror," Lloyd's newest recording

• "Catch the Breeze," from 2008

• a great clip of the New Quartet at work

• "Migration of Spirit" and an interview with Lloyd, for the upcoming "Mirror"

October 3-4

Ruthie Foster

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"Music this moving doesn't come around often these days..." -Sonic Boomers Ascendant folk blues star Ruthie Foster is an artist to watch: on the strength of her latest record The Truth According to Ruthie Foster, she won a 2010 Blues Music Award and was nominated for a Grammy. One of Austin, TX's finest musical exports in recent years, Foster blends gospel revival, blues and soul with lyrics that bleed and a voice that rings with joy. "She sounds long-suffering, forthright, resilient and thoroughly at home" -New York Times This is a colossal talent with a huge voice and a joyful message. More about Ruthie's story atruthiefoster.com/ “Ruthie's drawn comparisons to Ella and Aretha, but musically neither is really close. What she does have in common with Fitzgerald and Franklin is the irresistible blaze—it's impossible to look away, even close the eyes, for one second." — Philadelphia City Paper “Ruthie Foster's voice is so full of hallelujah, you sometimes have to listen to her songs two or three times before you realize she's singing the blues.” — Texas Music magazine

• "Woke Up This Mornin" from 2007

• Ruthie sings one with Robben Ford on guitar More videos HERE

Oct 5-6

Nick Lowe

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Singer/songwriter Lowe was one of the most influential figures of the latent British punk/new wave scene in the late 70's. His penchant for writing perfect three-minute pop songs and his production of records for Elvis Costello, the Pretenders, and Graham Parker made him one of the most acclaimed new artists of the time. Since 1980's "Cruel to Be Kind," Lowe has leaned steadily more towards roots-rock and country. With his latest record, "At My Age," Lowe has matured into a true country gentleman, re-establishing his place as one of the wittiest and most subtle craftsmen in pop music.

• "What's So Funny 'Bout Peace, Love & Understanding" with Benmont Tench on keyboard

• "Cruel To Be Kind" with Daryl Hall, T-Bone Wolk

October 7

Anat Cohen Quartet

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"Clarinetwork: Live at the Village Vanguard" is Cohen's tribute to legendary clarinetist Benny Goodman.

“Cohen has emerged as one of the brightest, most original young instrumentalists in jazz... [she] has expanded the vocabulary of jazz with a distinctive accent of her own.” -Washington Post

There is perhaps no reed player on the New York scene being talked about as much as Anat Cohen these days. As a saxophonist and clarinetist she is well versed in a dizzying number of musical styles, including modern and traditional jazz, classical music, Brazilian choro, Argentine tango, and an expansive array of Afro-Cuban styles. This is evident in her original music as well as in the projects she has worked with: The Choro Ensemble, which specializes in playing the difficult Brazilian choro genre; The Gully Low Jazz Band, an exploration of Louis Armstrong's music; The Waverly Seven, an all-star swing band tribute to Bobby Darin.

Cohen's original music wraps all these disparate influences into one arresting package, embodying all that the clarinet can be to 21st Century music. But Cohen has a deep respect for the clarinet's past, especially the long shadow cast by Swing Band-era master Goodman.


• Anat shreds with Paquito D'Rivera
• A lovely duet with John Pizzarelli

October 14

Maria Muldaur

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Maria Muldaur spices her music with passion and a voice that’s scintillating, brazen, and lightly burnished. Whether dipping into the songbook of Peggy Lee or wading into the Louisiana bayou, she completely envelops herself in her chosen style. For over 40 years as a performer, she’s literally lived the life of someone steeped in the American roots music songbook, whether it’s blues, jazz, gospel, folk, country or rhythm & blues. She’s the real deal, a true natural resource without any artificial affectations or jive. "Muldaur has got the blues... once you zero in on the emotional nuances of her finely weathered drawl, you'll hear an inspired change of heart - her voice becomes an oasis for troubled souls." -People magazine Born and raised in New York City's Greenwich Village, Muldaur grew up in a very fertile musical climate. While still in her teens, Maria joined John Sebastian and David Grisman to form the Even Dozen Jug Band, and soon moved to Boston to join the influential Jim Kweskin Jug Band. This group attracted national attention and a recording contract, and when they disbanded in 1968, Maria had her pick of musical directions to take. After making a couple of blues records with husband Geoff Muldaur, she was asked to record a pop song called "Midnight at the Oasis." It was her first solo recording, and it went platinum. Since the early 1970s Maria has been involved in a dizzying number of projects: jazz, gospel, swing tunes, roots music, New Orleans anthems, protest songs, and more. Her latest records, Yes We Can! and Garden of Joy, are returns to her roots: the first is a collection of protest songs, replete with choir, and some Muldaur originals, and the Garden of Joy is her first jug band recording in over 40 years.

• "Cajun Moon," a great J.J. Cale tune

• singing the blues with Leon Russell, Bonnie Raitt, Willie Nelson

October 16

The New Standards

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John Munson of Trip Shakespeare/Semisonic fame, Chan Poling, founder of the haute-punk new-wave group The Suburbs and Steve Roehm, vibraphonist extraordinaire, got together with a plan to play and sing their favorite songs – naked. Well, the musicians are clothed, and quite nicely we might add, but the aesthetic is raw simplicity, communication and soul. The song selections span the twentieth century. Each song must be someone’s favorite and each arrangement must bring something new to the song. In an age of digital overkill, The New Standards keep the instrumentation simple. Poling on piano, Roehm on vibraphone and Munson on double bass. Chan and John split the singing. If that’s not enough, a footstomp here, a shout-out and a fiery solo, and it’s cooked. Simple, elegant, illuminating. Fun.

"On its self-titled debut, jazz trio the New Standards takes pop and rock tunes, such "All the Young Dudes," "Only Love Can Break Your Heart" and "The New Pollution," then strips them down and juices them back up with vocals, piano, bass and totally cool vibes. It's a bit quirky, but it works."  - THE NEW YORK POST "...give these guys an award for being so super cool in their awesome versions of Lou Reed's "Rock and roll", The Yeah Yeah Yeah's "Maps" and Outkast's "Hey ya". - Melodic.net (SWEDEN) "the trio's rock chops fuel unplugged and jazzy covers of songs by Elvis Costello, Britney Spears and the Clash." - WNCY.org "To call The New Standards a covers band is to do a disservice to the trio's ambition and imagination. They add so much to the songs in their repertoire that you immediately forget these are songs made famous by other bands. ... What impressed me most about the band's performance was that they took ownership of each number. The New Standards at Hotel Cafe was an exceedingly entertaining show and one of the more memorable I've seen all year. At night's end the band literally had the audience asking for more. If nothing else, The New Standards should be commended for making a Britney Spears tune tolerable and breathing fresh life into songs I only thought I knew so well. Spending a night with these boys is wholly recommended." - The Red Alert • Review of show at Hotel Cafe, Los Angeles

www.thenewstandards.com

Check them out in this clip on You Tube, then catch them in person at the Dakota

October 17-18

Richie Havens

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Richie Havens is one of the iconic figures of folk music. He was already a household name in folk music circles when he was asked to open the Woodstock festival in 1969. His 3+ hour set made him a legend, and his song “Freedom” (an improvisation on the spiritual “Sometimes I Feel Like a Motherless Child”) was heard around the world on the documentary movie from the festival. His evocative voice and percussive guitar strumming still intact, he has maintained a busy schedule in the 40 years since, even finding time to make an appearance in the film “I’m Not There,” Todd Haynes’ Bob Dylan movie. Since the mid 1970s has spent time on the Northwind Undersea Institute, an oceanographic children’s museum in the Bronx that he founded.

• the last 10 minutes of his Woodstock set

• "Going Back to My Roots," from a 2008 TV appearance

October 19-20

Hugh Masekela

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One of the important figures in South African music, Hugh Masekela is also one of its biggest personalities. He has been performing, recording, and fighting apartheid for over 50 years, and has worked with a who’s who list of South African and international musicians. Masekela started on trumpet at an early age, and with some friends he started the Huddleston Jazz Band, South Africa's first youth orchestra. Hugh worked regularly in South African bands until 1960, when the increased brutality of the Apartheid state forced him to move. With the help of friends like violinist Yehudi Menuhin and conductor John Dankworth, Masekela earned a scholarship to London’s Guildhall School of Music, and South African singer Miriam Makeba helped him get to the Manhattan School of Music in New York. Once in the U.S., his recording schedule became very full: his contributions to Makeba's records make them the best in her catalog, and his solo records from this period are an amazing conflation of 1960s pop and African influences. His 1968 hit "Grazing In the Grass" is a staple of this period. The 1970s and 80s saw a number of high-profile events: a meeting with Fela Kuti spurred Masekela to explore his Afrobeat roots; his 1980 reunion concert with Miriam Makeba in Lesotho was attended by 75,000 people. His two records with Herb Alpert are revered, and his contributions to Paul Simon’s Graceland make the record the landmark it is. Today very little has changed for Masekela, as he continues to spread his musical message of peace, harmony and unity throughout the world.

• Hugh plays his hit, "Grazing in the Grass" at the 2010 World Cup Kickoff Concert

• Masekela's legendary "Coal Train"

October 24

Jimmy Webb

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Jimmy Webb is one of the preeminent songwriters of the last 40 years. His songs “Wichita Lineman,” “Galveston,” “MacArthur Park” and more have been heard by millions of people. He is the only artist to have ever received Grammy Awards for music, lyrics, and orchestration, and according to BMI, his song “By the Time I Get to Phoenix” was the 3rd most performed song between 1940 and 1990. "Jimmy Webb is the most important pop music figure to emerge since Bob Dylan." -Peter Reilly, Stereo Review, 1972 Born in Oklahoma, Webb moved to California with his family and stayed there to study music. After some music transcription work, 19-year old Webb met Johnny Rivers, who signed him to a publishing deal and recorded “By the Time I Get to Phoenix” on his 1966 album Changes. This started a string of successes for Webb, and he saw his songs recorded by The 5th Dimension, Glen Campbell, Isaac Hayes and Waylon Jennings, garnering several Grammy Awards between 1967 and 1969. As a performer, Webb also met with critical acclaim. His debut, Words and Music, was released in late 1970, with Rolling Stone calling his song "P.F. Sloan a "masterpiece [that] could not be improved upon." Webb released six albums between 1970 and 1982, each uniformly praised for their creative music and forthright lyrics. While his songs continued to be performed by the likes of Tanya Tucker and Art Garfunkel, Webb was focusing on larger scale projects, like film scores, Broadway musicals, and classical music. He returned to recording in the 1990s, and in 1998 published Tunesmith: Inside the Art of Songwriting.

• Jimmy's version of "Phoenix"

• Webb talks about his influences with Jools Holland