Live Streams Every Friday and Saturday at 7:30pm.

Jon Frank

Friday, January 7 – 7:30pm
Jon Frank Trio
live jazz in the bookshop, and in the stream
every Friday night

The Jon Frank Trio, with Sam Cady on piano and Chris Amberger on bass, has been honing its repertoire, including a number of  tunes penned by the pianist, in anticipation of a recording session soon. https://www.youtube.com/watch?v=SKBjiDQqs88[/embedyt

The leader of the trio, drummer Jon Frank, sends this biographical sketch:

I started playing drums in garage bands at age 12 in the East Bay, playing mostly blues and Jimi Hendrix as well as the usual SF Psychedelic groups.  Jazz hit me hard in high school, when I would travel to Moe’s Books in Berkeley and get amazing records like “Miles Smiles”, featuring Tony Williams on drums. An advanced musical friend introduced me to John Coltrane on “My Favorite Things” featuring either Roy Haynes or Elvin Jones on drums.  We would have jazz listening parties all the time. My first live concert was in 1970 at the Fillmore West on Van Ness, featuring the three billed powerhouse of the Allman Brothers, followed by Buddy Guy, and then Miles Davis doing his “Bitches Brew” set! Jazz was it.

I graduated from SF State with a BA in Music Education, with an emphasis in percussion in 1978.  I did a lot of gigging in college, but got my first teaching job right after graduating college and getting my teaching credential in 1979 at Sacred Heart High School. I tried to keep the gigs up, but soon discovered that staying up until 2:00 am from a gig and teaching an 8:00 am class was not possible. I started turning down gigs to keep up with my teaching.  My name then went from on the list to the bottom, to off the list of available drummers.  I always kept playing during my 39 years of teaching, but my emphasis was on my teaching and raising a family.

I started to really practice and play more gigs again when I started to study drums with George Marsh about five years ago.  However, the biggest change came when I retired three years ago and was able to have the energy to practice 2-3 hours a day and accept gigs in the middle of the week, knowing that I didn’t have to get up for school. I love classical music as well, having taught the Hoover Orchestra for 26 years, but do not play orchestral gigs. I stopped teaching privately years ago, remembering that my teaching mentor, Howard Dudune, had warned me not to do too much along with the teaching gig.  Right now, I’m playing regularly at Zingari, Scopo Divino (on January 5) and The Royale. I still play at assisted living facilities and temple events.

Doors open at 7:20 for the 7:30 1st set
and reservations will be held only until 7:30.
$20 cash cover charge at the door, please!

Proof of vaccination and a mask are required.
BYOB, and please leave your mask in place
except when taking a sip.

Thanks

Reservations are encouraged,
as audience capacity is limited to 20 for the time being.
To reserve, call 415-586-3733.

Your cover charges and online donations help us pay the band’s guarantee and are very much appreciated. Bird & Beckett proudly adheres to a guaranteed fair wage standard for the musicians without regard to audience size or door revenues. Your support makes that possible.

Can’t make it to the shop for the show?
Catch the live stream on Bird & Beckett’s YouTube channel or Facebook page.
You’ll see information on how to donate on the video screen.

Thanks so much for supporting the culture, the musicians and Bird & Beckett.

Our events are put on under the umbrella of the nonprofit Bird & Beckett Cultural Legacy Project (the "BBCLP"). That's how we fund our ambitious schedule of 300 or so concerts and literary events every year.

The BBCLP is a 501(c)(3) non-profit...
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The Independent Musicians Alliance

Gigging musicians! You have nothing to lose but your lack of a collective voice to achieve fair wages for your work!

The IMA can be a conduit for you, if you join in to make it work.

https://www.independentmusiciansalliance.org/

Read more here - Andy Gilbert's Feb 25 article about the IMA from KQED's site