These categories include: Latin Jazz, Gospel, Cajun/Zydeco, Hawaiian, various Blues and R&B categories and other significant genres that make up the American Songbook.

SAN FRANCISCO ARTS COMMISSION SPECIAL MEETING OF THE EXECUTIVE COMMITTEE Monday, November 7, 2011

SPECIAL MEETING OF THE FULL ARTS COMMISSION
Wednesday, November 16, 2011  

San Francisco, November 16, 2011 -  On Monday, November 7th, 2011 at the San Francisco Executive Arts Commission Meeting the resolution, spearheaded by Commissioner John Calloway was proposed to the board commissioners asking them to issue a formal request to the National Academy of Recording Arts and Sciences to immediately reinstate the 31 categories of music genres that were dropped from GRAMMY consideration on April 6, 2011. Members of the community who attended and spoke were musician and previous NARAS governor Sandy Cressman, Recording Artist and 2x GRAMMY Nominee Mark Levine, KPFA Radio Producer Clayton Leander and producer and writer Stephanie Dalton, who presented the public petition that now has over 5,400 signatures.

Today, November 16, 2011 the Arts Commission heard from Recording Artist and 5x GRAMMY Nominee John Santos and San Jose Jazz Festival Board President Arturo Riera spoke on the importance of this resolution, where upon the commissioner board unanimously voted to send the resolution to NARAS’ National Board Chair George Flanigen, Board Secretary Glenn Lorbecki, and President Neil Portnow.

The resolution will be presented to the San Francisco Board of Supervisors and to the San Francisco Mayor’s office and there will be a request for the public to attend the Board of Supervisors meeting when announced.

For up to date information please visit: www.grammywatch.org or please contact Stephanie Dalton at stephanie@urbanmusicpresents.com or Clayton Leander at latinjazzmecca@gmail.com.

The Resolution Reads:
This resolution to reinstate the 31 categories of music that were dropped by the National Academy of Arts and Sciences (NARAS) for GRAMMY consideration on April 6, 2011 supports the music genres that are truly reflective of the contemporary musical landscape and cultural diversity of the United States.

WHEREAS, the City and County of San Francisco, which maintains a proud tradition as a hub of cultural and musical diversity, is home and host to valuable contributors of the American musical lexicon, including numerous GRAMMY®-nominated and -winning composers, artists and professionals; and

WHEREAS, NARAS, an influential nonprofit 501(c)(6) organization, is based in California and home to 30% of its 20,000+ members, and includes a San Francisco Chapter; and

WHEREAS, the decision to drop the 31 categories from GRAMMY consideration was done by secret committee without consulting the voting membership of NARAS and without local chapters’ Board of Governors’ knowledge; and

WHEREAS, the eliminated categories include Latin Jazz, Contemporary Jazz, Hawaiian, Cajun, Zydeco, Native American, Tejano, Classical Crossover, Instrumental Rock, along with significant reductions in awards given to the categories of Gospel, Blues and R&B; and

WHEREAS, protests and meetings have occurred in Los Angeles, San Francisco, New York, Hawaii, Chicago, New Orleans, and other national locations to resolve this severe and extremely insensitive blow to cultural expression and recognition in our country; and

WHEREAS, respected GRAMMY-winning and -nominated artists, including Paul Simon, Herbie Hancock, Bonnie Raitt, Carlos Santana, John Santos, John Calloway, Eddie Palmieri, Wayne Wallace, Bobby Sanabria and many others have joined NARAS members, colleagues, and past Chapter governors in writing letters and signing a petition with 5,000 cosigners urging NARAS to reverse their secret decision and reinstate the GRAMMY categories; and

WHEREAS, national and international media coverage (KTVU, San Francisco Chronicle, Washington Post, CNN, MSNBC, Reuters, BBC, Wall Street Journal, etc.) has been given to the outcry against this unjust and harmful decision in over 1,200 national and international stories published and syndicated in print, broadcast, and digital formats; and

WHEREAS, NARAS has a responsibility to their voting membership to ensure that ethical decision practices are maintained because the GRAMMY is considered to be the highest award achievable for music excellence in the Unites States and therefore should strive to include genres and categories of particular creative and foundational significance; and

WHEREAS, the thousands of affected musicians, engineers, manufacturers, composers, arrangers, graphic artists, publicists, distributors, and other industry professionals who work in the eliminated categories will suffer economically from not being able to participate in the GRAMMY awards; and

WHEREAS, thousands of California consumers and patrons of these important musical traditions have also been negatively affected and disrespected by this ill-advised decision; and

WHEREAS, the NARAS leadership has acknowledged that a “mistake” was made indicates that these genres should never have been eliminated in the first place;

NOW THEREFORE, be it resolved that the San Francisco Arts Commission urges the National Academy of Arts and Sciences to immediately reinstate the eliminated categories in order to restore integrity and diversity to the GRAMMY Awards and fulfill the organization’s responsibilities to its membership and as a nonprofit organization representing the interests of diverse musicians and recording professionals; and be it

FURTHER RESOLVED, that the San Francisco Arts Commission directs its administrative staff to send copies of this resolution to NARAS National Board Chair George Flanigen, Board Secretary Glenn Lorbecki, and President Neil Portnow.

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Press inquiries
Stephanie Dalton, Urban Music Presents

415.796.2319 / 415.503.8207

stephanie@urbanmusicpresents.com

www.urbanmusicpresents.com

Offshore Echoes is one of the most infectiously happy records of the year. The amazing driving capoeira samba rhythm of “Ilu Ayé” is a perfect case in point as it spins like a colorful top of ecstacy. “Take me to Aruanda” is no less ebullient and Kristina has a particularly sassy way of letting quarter tones slide by with majestic glissandi here. “Cherokee,” that incomparable song that has brought so much spirited joy through the ages–especially since the legendary Charlie Parker recast it–gets a further refurbishment. Kristina can claim to have sung this one with true soul, being Cherokee herself. In fact the vocalist may have turned this version into one of those songs that renters the vocabulary of modern music in much the same way as “Wichitai-to” did after Jane Bunnett recast the John Pepper classic.

Kristina goes native once again in the beautiful landó, the Afro-Peruvian, “No Valentin.” This is a significant vocal as it is equivalent to a delta blues in the US and Kristina renders her version with sublime authenticity. Her tribute to Sarah Vaughan, “Tenderly” may be the most definitive version since “Sassy” did hers. It is by this song that Kristina shows why she may possibly be the true successor to Vaughan herself. Kristina has that smokey hush that combines with her often-authoritative inflection and undulating phrasing that sets her apart and recalls the great “Sassy” herself. In “The 59th Street Bridge Song (Feelin’ Groovy),” which Kristina sings in a swaggering reggae/calypso rhythm and shows just how uncannily close to Vaughan she can come in all her soulful splendour.

The music on the record is made all the more memorable by the magnificent artists who appear with Kristina. The instrumental ensemble is exquisite as is the choral backing–especially on “Ilu Ayé.” Then there is the outstanding percussion work of John Santos and Michaelle Goerlitz as well as the brass and woodwinds including Wayne Wallace and Mary Fettig, who shine bright.

Offshore Echoes is an experience that far outlives the echoes of the notes that hover in the air long after the last note is played and sung.

Tracks: 1. Tea in the Sahara; 2. Cherokee; 3. Love Everlasting; 4. Open Your Eyes You Can Fly; 5. Take Me to Aruanda; 6. Tenderly; 7. Ilu Ayé; 8. The Performer; 9. Valentin; 10. The 59th Street Bridge Song (Feelin’ Groovy).

Personnel: Murray Low: piano (2-5, 7, 8), electric piano (4); Frank Martin: piano (1, 6); Paul van Wageningen: trap drums (2-5, 7, 8); Deszon Claiborne: trap drums (1, 6, 10); David Bedlove: bass (2-5, 7, 8); Rich Girard: bass (1, 6, 10); Rick Vandiver: guitar (1, 6, 7, 10), palmas (9); Michaelle Goerlitz: percussion, palmas (9); John Santos: percussion (2-5, 7-9), palmas (9); Mary Fettig: horns (2, 4), flute (3); Danny Bittker: horns (2, 4), clarinet (3); Alex Murzyn: horns (2, 4), clarinet (3); Louis Fasman, John Worley, Dave Martell: horns (2, 4); Wayne Wallace: trombone (2, 4, 5); Garrett McClean, Stephanie Antoine, Erin Benim, Jory Fankuchen: violins (2, 6); Madeline Prager, Mimi Dye: violas (2, 6); Eric Gaenslen, Laura Boytz: cellos (2, 6); Kristina: vocals, background vocals (7), palmas (9); Sandy Cressman, Ed Johnson, David Chaidez: background vocals (7, 9); Wayne Wallace, Sheryl Lynn Thomas: background vocals (10); David Pinto: palmas (9).

Kristina on the web: www.kristinasgroove.com

Review written by: Raul da Gama