www.montereycountynow.com SEPTEMBER 24-30, 2026 MONTEREY COUNTY WEEKLY 19 I think what we’re watching now are the last hopes of people who really believe in their power. What had to happen for them to create the other? Why do you need it so much to build yourself up? It transcends race, it transcends gender, the idea of the other that you ruled over, that you want to control. We call it “governing.” We are having a reckoning at 250 years, what this country is truly about. What is our place in the shifting sands of power? What is the role of music and art more broadly in that dynamic—is it a form of social action? I am trying to be a good citizen, but I don’t know. “This weapon kills fascists,” to quote my brother Woody. In most cultures it is something that brings a community together, that gives catharsis. It is a celebration, we use it for mourning, we use it for praise. It is, to me, the foundation of truly remaining human. Synonym is also very much a dialogue, featuring a long list of famous singers (like Chaka Khan, Cynthia Erivo, Cat Power and Bill Callahan) and songwriters. It’s all covers. I don’t think of myself as a great songwriter, I think I’m a good song stylist. I like to take a song and see what other universes live within it. When it’s a really good song, it doesn’t matter when it comes out. You’re not looking to hit a trend. The structure of the album—with duos singing all these famous songs, always a pairing of voices who identify as the same gender—is also shining a light on the idea of othering. It’s the people who get lost in history, the people who weren’t up front but what they had to give has changed us irrevocably, like [civil rights leader] Bayard Rustin who organized the March on Washington, or the great arranger Billy Strayhorn. There are a lot of artists like that. Luckily I was an artist at a time when my fluidity wasn’t a burden or asset, it just was. It’s not just social conditions but the music industry that’s changed a lot during your career. How do you feel about streaming? I know Spotify has ruined it for a lot of people, but I see the joy on my son’s face that he has access to music. What about AI in music? I don’t think about it, to be honest. It’s unnerving. [But even before AI], Brian McKnight took a part of my sound [in 1997]; you couldn’t doubt it. Everyone was like, “you should take him to court.” I just didn’t have the money. But I’m glad I didn’t, because I am so blessed. He sold many more records than me, but I continue to have a career and my imagination is staying fluid. I am trying to not be distracted by fear of a lack. Did you ever have a conversation with McKnight about it? No. There are real problems going on in the world. Tell me a little bit more about what audience members can expect from your Jazz Festival set. There’s going to be a lot of amazing, beautiful people there who have spent a lot of money to come have a good time to hear quality music. I want to play a set that even if you do not know my music you’re going to go, “That sounds good.” I’m 58 years old, there is not a lot of dancing going on. It is still an audible experience. We always throw in a cover because we’re in a relationship, we’re in a dance. That’s why I love covers; it gets to the essence of what’s important. What’s next? I really like theater. I would like to work on an opera. Meshell Ndegeocello performs at the Monterey Jazz Festival at 7-8:15pm Saturday, Sept. 26 on the Jimmy Lyons Stage. In the Groove The 69th annual Jazz Festival covers a lot of bases in three days. Here are some highlights. By Pam Marino The longest continuously running jazz festival in the world is back for its 69th year, with more than 70 performances on five stages and a number of unique and historic jams you won’t see anywhere else, which is why this year’s theme is “Only in Monterey.” The festival features an array of jazz and jazz-adjacent styles, with some interesting twists, including spoken word artists this year. Here are some highlights of shows to check out over the three days. Friday, Sept. 25 BERKLEE INSTITUTE OF JAZZ AND GENDER JUSTICE QUARTET 5pm, Tim Jackson Garden Stage “What would jazz sound like in a culture without patriarchy?” That’s the question asked by the Berklee Institute of Jazz and Gender Justice, which is seeking to do corrective work to modify the way jazz is perceived and presented. A diversified combo of talented student musicians will play class and contemporary jazz. (The quartet also plays at 7:15pm Saturday, Sept. 26, on the Courtyard Stage.) JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS AND SPECIAL GUEST CÉCILE MCLORIN SALVANT 7pm, Jimmy Lyons Stage For anyone who loves a big band sound and revels in classic jazz, the Jazz at Lincoln Center Orchestra with Wynton Marsalis is a must see. Music Director Marsalis is joined by 15 of the finest jazz soloists and ensemble players working today. Special guest Cécile McLorin Salvant, a FrenchAmerican jazz singer, songwriter and composer, has been described as a once-in-a-generation vocalist. Winner of three Grammys for Best Jazz Vocal Album, she has a rich, luxuriant voice, reminiscent of Sarah Vaughan. THE EDDIE PALMIERI EXPERIENCE: AN ALL-STAR CELEBRATION 8:45pm, Jimmy Lyons Stage A powerhouse lineup of special guest performers will celebrate the life and music of Eddie Palmieri, the Puerto Rican bandleader who revolutionized salsa and Latin jazz, who died last year at the age of 88. Over his long career he recorded over 40 albums and won 10 Grammys. The show on Friday’s main stage will pay tribute to Palmieri’s revolutionary sound, and will include musicians who have performed and recorded with Palmieri. RON CARTER FOURSIGHT QUARTET 9pm, Ray Drummond West End Stage This is a chance to catch the legendary bassist Ron Carter on the performance grounds ahead of his collab with Herbie Hancock on BERKLEE COLLEGE OF MUSIC CHARLIE GROSS Berklee Institute of Jazz and Gender Justice Quartet GROOVE continued on pg. 20
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