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4 | January 2018


January 2018

07. What’s New 09. Desert Southwest 11. Events 22. Sustainability 27. Arts 30. Performances 32. Art Galleries & Exhibits 36. Tunes 44. Scene in Tucson 46. Poetry On the Cover:

HSL Properties Tucson Jazz Festival kicks off January 11. Read about it on page 19. Cover artwork by Rick Eppedio.

Zócalo Magazine is an independent, locally owned and locally printed publication that reflects the heart and soul of Tucson.

PUBLISHER & CREATIVE DIRECTOR David Olsen CONTRIBUTORS Craig Baker, Jefferson Carter, Abraham Cooper, Carl Hani, Jim Lipson, Jamie Manser, Troy Martin, Gregory McNamee, Janelle Montenegro, Amanda Reed, Jocelyn Valencia. LISTINGS Amanda Reed, PRODUCTION ARTISTS Troy Martin, David Olsen AD SALES: CONTACT US: P.O. Box 1171, Tucson, AZ 85702-1171 520.955.ZMAG

SUBSCRIBE to Zocalo at Zocalo is available free of charge at newsstands in Tucson, limited to one copy per reader. Zocalo may only be distributed by the magazine’s authorized independent contractors. No person may, without prior written permission of the publisher, take more than one copy of each issue. The entire contents of Zocalo Magazine are copyright © 2009-2018 by Media Zoócalo, LLC. Reproduction of any material in this or any other issue is prohibited without written permission from the publisher. Zocalo is published 11 times per year.

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Stunning contemporary hilltop home, designed by Rob Paulus Architects. 2030 sf, 4.8 ac., 650k.

Midcentury modern in San Clemente historic neighborhood, 3936 E. Cooper St. 2257 sf, 3 bd/3 bath, .38 ac, with pool. 415k.

SUSAN DENIS 520.977.8503

habitation realty


Specializing in Tucson’s historic neighborhoods, vintage homes, and infill projects of exceptional design

Art Staging by local sculptor/painter Steven Derks.

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Miracle Mile in 1937

Miracle Mile Historic District Recently Listed in the National Register of Historic Places

The Historic Miracle Mile corridor, located on North Stone Avenue, Drachman Street, Oracle Road and Miracle Mile in Tucson, Arizona, was listed as a historic district in the National Register of Historic Places on December 11, 2017. According to Demion Clinco, CEO of the Tucson Historic Preservation Foundation, and lead author of the nomination, “The designation of Tucson’s northern historic highway corridor represent years of community advocacy and a long term commitment and investment form the City of Tucson to support the revitalization of of the Oracle Area.” He continued, “This part of our city reflects early and mid-century automotive culture and is marked by an outstanding collection of now historic motels, service stations and colorful neon signs.” The Miracle Mile Historic District is composed of four groupings of historic resources that feature some of the best and most iconic examples of roadside architecture in Tucson and Arizona including the Ghost Ranch Lodge (designed by Josias Joesler 1941), Tucson Inn (designed by Anne Rysdale, 1952), the Flamingo Hotel (designed by Anne Rysdale, 1954) and Duke’s Drive-In former home to the recently closed Beau Brummel Club (designed by Arthur T. Brown, 1947). The designation makes available reinvestment incentives including federal Historic Tax Credits for rehabilitation of contributing historic buildings. “Thanks to the hard work of the Tucson Historic Preservation Foundation and local advocates like Demion Clinco, Tamara Prime, Ken Scoville, and city staff including Rebecca Ruopp the unique treasures and destinations that define Tucson’s Miracle Mile will be better known and protected,” said Karin Uhlich former City Councilor who represented Ward 3 where the district is located and who championed the effort. “From the Ghost Ranch Lodge to Monterey Court and many other spectacular sites, we all ought to appreciate this “neon-lined” artery leading to the heart of Tucson.”

“This represents an important turning point and boost for this part of our community. This designation creates new incentives for reinvestment that will honor and preserve the past.” said Rebecca Ruopp, Principal Planner at the City of Tucson and contributor to the nomination. Located north of downtown Tucson, the Miracle Mile Historic District is a significant commercial corridor connected to the development and alignment of Tucson’s northern segment of U.S. Route 80, U.S. Route 89, and Arizona Route 84. Throughout the mid-twentieth century, this commercial strip, known as “Miracle Mile,” functioned as the northern vehicular gateway of Tucson for travelers traversing the nation. The Miracle Mile Historic District follows the alignment of the following extant arterials: Stone Avenue, Drachman Street, Oracle Road, and Miracle Mile. Also included in the district and associated with the highway site is a two-block segment of Main Avenue lined with trucking transfer warehouses and roadside commercial buildings, as well as four blocks of Flores Street containing a cluster of small motels. The bulk of the contributing resources, facing or within one block of the historic highway alignment, relate to mid‑century auto culture and were constructed during the district’s period of significance; 1920 through 1963. While the district has been rendered discontiguous by development, the identified segments have sufficient significance and integrity to meet National Register criteria. The Miracle Mile Historic District represent four visually and historically linked groups of buildings connected by the alignment of historical U.S. Route 80/89, which is also a contributor to the district. In total, the Miracle Mile Historic District includes 102 individual properties, many with multiple buildings, structures, and objects contributing to the designation. n January 2018 | 7

8 | January 2018

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Twenty Years Later The Phoenix Lights

Photo: Dramatization

By Abraham Cooper PERHAPS one of the strangest events to ever occur in Arizona took place twenty years ago over the skies of Phoenix. Thousands of people between Nevada and Southern Arizona witnessed an enormous unidentifiable flying object gliding through the air until disappearing into Sonora Mexico. Remarkably, a substantial amount of video footage was shot of the object as it lingered in the Phoenix area. Despite this documentation we are still no closer to adequately explaining what happened that night. On March 13, 1997, beginning around 7:30pm MST, reports of a large, V-shaped formation of lights began to circulate. One of the earliest descriptions was given by a man in Henderson, Nevada who reported seeing a V-shaped object roughly the size of a 747, which produced a sound resembling that of rushing wind. He described the object as having six lights positioned near the tip of the V-shape and was travelling from the northwest to the southeast. The next report came from a former police officer in Paulden, Arizona, who witnessed a similar cluster of reddish-orange lights in the shape of a V, travelling southward. The man quickly returned home and continued observing the lights as they vanished beyond the horizon. Shortly after 8:00pm MST, people began calling authorities in the vicinity of Prescott and Prescott Valley to report a triangular formation of lights. Witnesses stated that the object appeared solid since it blocked out portions of the starfilled sky while passing overhead. One witness in the area described the object as having one white light at its front and four reddish lights trailing behind it. The witness also stated that the object flew at an eerily low altitude and was completely silent. It was observed leaving Prescott Valley toward the southeast. Tim Ley and his family who lived on the outskirts of Phoenix were among the first to witness it approaching. What first appeared as a distant cluster of lights gradually became larger. It soon became apparent that the object was moving in the direction of Tim’s house until finally it appeared to be moving down his street. The object seemed to hover silently and was so close to the ground that Tim’s son said he could have thrown a tennis ball at it and would

have been able to hit it. Tim described the lights in the object as being recessed and producing a pure white light, which oddly did not emit any light on the ground below where the family was standing. Tim was astonished by the size of the object which seemed to cover the entire neighborhood. It continued silently drifting down the street until leaving the area through a natural clearing between two mountain peaks, heading toward Phoenix Sky Harbor International Airport. The object then arrived over the city of Phoenix, where it was witnessed by hundreds of people, and was widely documented by Phoenix residents using home video cameras. The video recorded that night revealed, in some cases, up to nine bright lights situated in a stable arc or triangle-shaped formation, turning on and off until finally disappearing permanently. This footage was repeatedly aired on local news programs and used in documentaries produced by the History and Discovery Channels, for years to come. Fife Symington, Governor of Arizona at the time, initially mocked the notion that extraterrestrials had visited Phoenix. However, ten years later, during an interview which recapped the event, he claimed to have witnessed the object firsthand and that as a pilot and former Air Force Officer he was doubtful the formation of lights were high altitude flares, which remains the official explanation given by the military. The Phoenix Lights incident has become permanently lodged in UFO mythos and local lore. Skeptics and believers continue to quarrel over its origin which seems to have ultimately done more for television ratings than bring us closer to the truth. Although the Phoenix Lights were well documented, video quality at the time was poor, besides the fact that the incident took place at night, making it difficult for witnesses to ascertain the scope and nature of what they were seeing. Still, the accounts of those who were close enough to the phenomenon to distinguish its shape, fortunate (or unfortunate) enough to nearly reach up and touch it, if credible, should leave room for us to wonder about the high strangeness that occurred in Arizona that night. n January 2018 | 9



10 | January 2018

photo: Elena Belozorova

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The largest, oldest and most prestigious gem and mineral show in the world. The Tucson Gem and Mineral Show has enjoyed international stature since the 1970s, and was the first gem and mineral show to bring the hobby enthusiast, the public, and the curator/professionals together for discovery and discussion. Complete schedule of shows can be found at

FRI 5 - SUN 7 THE ARIZONA STATE HOME & GARDEN SHOW See what’s new in home improvement with hundreds of vendors and experts. General admission $8, kids 16 and under are free with paying adult. Active military are free and seniors (55+) are buy 1 get 1 free on Friday. Hours: Fri 10am-6pm; Sat 10am-6pm; Sun 10am4pm. Tucson Convention Center, 260 South Church Ave. 1-800-745-3000.

JAN 6 - FEB 3 TUCSON SENIOR OLYMPIC FESTIVAL Events include archery, badminton, basketball, billiards, bocce, bowling, golf, powerlifting, swimming, track and field, and more. Morris K. Udall Regional Center, 7200 E. Tanque Verde Rd. 520-791-3244.

THURS 11 - SUN 14 WINGS OVER WILCOX Experience winged winter migrants along with other local wildlife in the Sky Islands with hikes, tours, seminars and keynote speakers. Willcox Community Center, 312 W. Stewart St. 520-384-2272.


Experience world class jazz musicians at the annual festival, with a lineup including Hypnotic Brass, The Hot Sardines, Arturo Sandoval, Grammy winning percussionist and vocalist, Shelia E., Lew Tabackin Trio, The Mingus Dynasty, Spyro Gyra, and more. On Martin Luther King, Jr. Day, the free Downtown Jazz Fiesta will take place from 10am-6pm on 8 stages all over downtown Tucson. Tickets: Most shows are $35-$45 with a few exceptions. For schedules, tickets and more visit:

TUCSON INTERNATIONAL JEWISH FILM FESTIVAL As one of the longest running Jewish festivals in the country, this year’s not too be missed schedule brings over 20 international Jewish films to the Old Pueblo. Opening Night on Jan 11 features Shelter, at The Loft Cinema. 520-299-3000. Tickets and passes: $8$118. For tickets and schedule visit:


This year’s festival of unjuried, uncensored performances, features over 50 shows at 6 downtown venues. Tickets and Passes: $10-$75. For venues, schedules and to purchase tickets visit:


A free, family friendly urban block party! 5pm to 10:30pm. Performances, vendors, food trucks, and more. Free family friendly movie at the Southern Arizona Transportation Museum. Downtown Tucson.


This community wide event commemorates the anniversary of Jan 8 by encouraging physical activity and promoting a sense of community. Various events such as: The Chukson Trail and Beyond, Run with the Saguaros - a 4 or 1 mile social run, Witness the Fitness, Arizona Trail Hike, and Storytelling and Scavenger Hunt at Valley of the Moon and more. Held at locations throughout Pima County. For a full list of events visit:

SAT 13 - SUN 14 MINERAL MADNESS FAMILY EVENT AND SALE Dig into the rocking’ world of minerals with fun hands on activities for families. Learn about gems, minerals, and fossils, with thousands of specimens on display and for sale with prices starting at 50 cents. Activities for kids include viewing micro-minerals, painting with minerals, and free rock collecting. 10am4pm. Arizona-Sonora Desert Museum, 2021 N. Kinney Rd. 520-883-2702.


Enter the Big Top to experience the magic of this Italy based circus, featuring acrobatic acts, equestrian showmanship, canine capers, friendly clowning and many acts with Old World charm. Tickets: $20-$32.50. Mercado San Agustin, 100 S. Avenida del Convento. 520-621-3364. For showtimes and to purchase tickets visit: event/3186026


Workshops, evening dances, exhibitions, and performances with featured instructor, Shane Gruber and Special Guest Instructor, Dave Roe. Old Pueblo Dance Center, 613 E. Delano St. 520-290-2368.





THURS 18 YAPPY HOUR Bring your pups to the museum for “Yappy Hour”, an event benefitting S.A.F.E with special cocktails like “Greyhounds” and “Husky IPA” and even a dog friendly cocktail for your furry friend. Free admission. 6-8pm. Museum of Contemporary Art, 265 South Church Ave. 520-624-5019.


A commemoration of the Tucson capture of “America’s Most Wanted” gangster, John Dillinger. Events include, a speakeasy adults only whiskey tasting on Friday; Saturday an all ages event with reenactments, vintage cars, historic lectures, arts & crafts, live music and more. Proceeds benefit the Greater Tucson Fire Foundation. Admission: $35 on Fri, limited to 225 guests; free admission on Sat. Hotel Congress 311 E. Congress St. 1-800-722-8848.

SAT., JAN. 20 RIVER RUN NETWORK CREEK WALK Upper Rillito Learn about Tucson’s riparian gems and WMG’s River Run Network movement. In this Creek Walk, we explore the Rio Vista Natural Resource Park and Upper Rillito River with Watershed Management Group co-founders Catlow and Lisa Shipek. Free. 396-3266. Registration required at


Pueblo Vida Brewing Company along with Saywells Design have created some beer specific coloring sheets. Crayons will be provided. 4-10pm. 115 E. Broadway. 520-271-8174.

SAT 27 HISTORY ON TAP Experience 1870s Tucson with a recreation of the Levin’s Beer Garden with live entertainment by the Old Arizona Brass Band and others. Ticket includes 10 drink tickets, souvenir mug and museum admission. Admission: $40 general, $30 AHS member or student (21+ with ID), $20 designated driver. Arizona History Museum, 949 E. 2nd St. 6-9pm. AZHS. gov/HistoryonTap


Celebrating the life and music of Leonard Bernstein, the iconic composer, pianist and educator. Internationally celebrated soloists will perform at various venues. For more information visit:

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photos courtesy: 5 Points Market

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EVERY SUNDAY 5 POINTS FARMERS MARKET Cesar Chavez Park is now home to a local & sustainable foods market every Sunday, 10am-2pm. Participating Farms are not charged to sell their items, no table fee, no percentage. Attendees can stock up on wholesome, nutrient rich foods and support sustainable farm operations in the community. 5 Points Market & Restaurant nearby also sells hot Cafe Aqui coffee and fresh organic scones and cookies. Cesar Chavez Park is located at 750 S. Stone Avenue.

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photo: Dario Acosta

Jubilant Sykes Sasha Cooke

photo: Philippe Levy-Stab

Celebrating the life and music of Leonard Bernstein, the iconic composer, pianist and educator, with internationally celebrated soloists performing at various venues. Leonard Bernstein’s compositions span classical, Broadway, jazz and pop music idioms with a singularly American voice. TDSF Director George Hanson has curated a festival that draws from every aspect of Bernstein’s compositional range, from large to intimate works, featuring, films, lectures, symposiums and master classes. Highlights include a fully-staged production of Bernstein’s comic operetta Candide (in partnership with Arizona Opera); Trouble in Tahiti (in partnership with the Tucson Symphony Orchestra) featuring mezzo-soprano Sasha Cooke and bass-baritone Kelly Markgraf; Mass, in a new reduced version (in partnership with True Concord Voices & Orchestra) featuring Jubilant Sykes; the “Kaddish” symphony, narrated by Jamie Bernstein, and an evening with Broadway star Chita Rivera. George Hanson, a former assistant to Bernstein states, “Leonard Bernstein is one of America’s most important and influential musicians. His impact is felt by all who were alive during his glorious career; and is still felt today even by those too young to recall his time on earth. Nowhere else in the world, as far as we know, can a listener experience the full spectrum of Bernstein’s genius in such a short period of time, and in such a beautiful place as Tucson.” Jamie Bernstein, narrator, writer and broadcaster, will be TDSF’s Artist-in-Residence, sharing insights and memories of her father and his work. Dr. Matthew Mugmon, the New York Philharmonic’s Leonard Bernstein Scholar, will also be in residence. Ms. Bernstein and Dr.. Mugmon will provide context to help understand the complex life and career of Leonard Bernstein and will participate in symposia, Leonard Bernstein’s Impact on American Music, among them. For more information, please visit

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Charlap Trio photo: Jason Homa

TUES 16 - FEB 4

Jennifer Johnson Cano


Marana High School Choir: “Marana does Bernstein!”A student symposium and performance with George Hansaon, TDSF Director. Marana High School Auditorium.

TUESDAY, JAN. 16, 3:00-5:00 PM

Master Class, Jennifer Johnson Cano and Chris Cano. UA Fred Fox School of Music’s Holsclaw Hall.

TUESDAY, JAN. 16, 7:00 PM

Festival Opening Event, “Leonard Bernstein’s Two Worlds”, From Broadway to Opera, Kristin Dauphinais, mezzo soprano. UA Fred Fox School of Music’s Holsclaw Hall.


Jennifer Johnson Cano, mezzo soprano, Christopher Cano, piano. UA Fred Fox School of Music’s Holsclaw Hall.

THURSDAY, JAN. 18, 7:30 PM

“Somewhere—The Songs of Leonard Bernstein”, Bill Charlap Trio. Fox Tucson Theater.

FRI, JAN. 19, 7:30 PM & SUN JAN. 21, 2:00 PM

Bernstein: Symphony No. 3, “Kaddish”, Tucson Symphony Orchestra, José Luis Gomez, conductor Kelley Nassief, soprano, Jamie Bernstein, narrator (Festival Artist-in-Residence), Tucson Symphony, Chorus – Bruce Chamberlain, director, Tucson Arizona Boys Choir – Julian Ackerley, director.

SATURDAY, JAN. 20, 7:30 PM

“On the Waterfront” with an introduction and Q&A by Jamie Bernstein. Tucson Jewish Community Center.

MONDAY, JAN. 22, 7:00 PM

Symposium: Leonard Bernstein’s Jewish Heritage. Tucson Jewish Community Center.

TUESDAY, JAN. 23, 4:00 PM

Symposium: Leonard Bernstein’s Impact on American Music, Jamie Bernstein, Artist-in-Residence, Dr. Matthew Mugmon, Leonard Bernstein Scholar-inResidence.

TUESDAY, JAN. 23, 7:30 PM

Chita Rivera—A Legendary Celebration. Centennial Hall.

THURSDAY, JAN. 25, 12:00 PM

New Directions in Art Song – Bernstein’s vocal influence, Kristin Dauphinais, mezzo soprano. UA Fred Fox School of Music’s Holsclaw Hall.

FRIDAY, JAN. 26, 7:30 PM SUNDAY, JAN. 28, 18, 3:00 PM

Bernstein: MASS (chamber version), True Concord Voices & Orchestra, Jubilant Sykes, Celebrant. Also Featuring UA Dance Ensemble. Centennial Hall.

Lisette Oropesa

SATURDAY, JAN. 27, 3:00 PM SUNDAY JAN. 28, 3:00 PM

Pentimenti – Voltaire’s Candide: The Music of Voltaire’s Time, Arizona Early Music Society, Aaron Sheehan, tenor, Kathryn Mueller, soprano, John Lenti, guitar and theorbo, Joanna Blendulf, viola da gamba. Grace St. Paul’s Church.

SATURDAY, JAN. 27, 7:30 PM SUNDAY, JAN. 28, 18, 2:00 PM Bernstein: Candide. Tucson Music Hall.

MONDAY, JAN. 29, 7:00 PM

“Lenny and Friends”, Steans Institute Singers. UA Fred Fox School of Music’s Holsclaw Hall.

TUESDAY, JAN. 30, 7:00 PM

Lisette Oropesa, soprano, Michael Borowitz, piano. UA Fred Fox School of Music’s Holsclaw Hall

WEDNESDAY, JAN. 31,10:30AM-12:30 PM

Master Class, Lisette Oropesa, soprano. UA Fred Fox School of Music’s Crowder Hall


Bernstein: Arias and Barcarolles, New York Festival of Song, Steven Blier, Michael Barrett. UA Fred Fox School of Music’s Crowder Hall. For February events, please visit

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LOCAL ARCHITECT – Ms. Susannah Dickinson, Assoc. Professor – UofA School of Architecture.

THIS HOUSE IS SCULPTURE! 236 W. University Blvd. SOLD @ $411,000.00 MLS #21730666

LOCAL BUILDER – Mr. Frank Chrzanowski, FSC Builders, LLC.



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As one of the longest running Jewish festivals in the country, this year’s not too be missed schedule brings over 20 international Jewish films to the Old Pueblo. Here’s a look at just a few of the films... Opening Night on Jan 11 features the Arizona Premiere of Shelter, 7pm at The Loft Cinema. In this subtle thriller, a female Mossad agent is sent to protect a female Lebanese informer in a safe house in Hamburg, Germany. The relationship that evolves between the women is tested with the threat of terror, deception, and a surprising turn of fate. If you like Homeland and Fauda, you will love this one.

An Act of Defiance

photo: © Everett Collection / Everett Collection

On Firday night, Jan 12 is Challah Rising in the Desert: The Jews of New Mexico (1pm at The J). Amidst New Mexico’s unique Jewish community, the five-braided challah represents five waves of settlement including Conversos escaping the Spanish Inquisition 400 years ago, German Jewish pioneers of the Santa Fe Trail in the 1800s, scientists of the 1940s at Los Alamos and the counterculture of the 1960s. This film is part of the series, Frontier Jews, documenting Jewish communities in the border region of the American Southwest. Sunday, Jan 14 is Monkey Business: The Adventures of Curious George’s Creators (1pm at The J).Hans and Margret Rey, a German-Jewish couple who narrowly escape Nazi-occupied France on makeshift bicycles, secretly carry the unpublished Curious George manuscript with them. Forced to live in Brazil while they await visas to the United States, the couple eventually sail into New York harbor to start life anew and create a children’s book classic. Special Guest: Cartoonist and Rey Foundation Executive Director Nat Scrimshaw. Monday, Jan 15 is An Act of Defiance (7pm at The J). In this riveting historical drama, Nelson Mandela and his inner circle of Black and Jewish supporters face a possible death sentence for conspiracy to commit sabotage after they are arrested by the apartheid South African government during a raid in the town of Rivonia during the summer of 1963. Bram Fischer, a sympathetic lawyer, risks his career and freedom to defend these men.

Bombshell: The Hedy Lamarr Story

Tuesday Jan 16 is Bombshell: The Hedy Lamarr Story (5pm at The J). A ravishingly beautiful actress of the 1930s and 40s, Hedy Lamarr was an Austrian Jewish emigre whose scandalous nude scene in the 1933 film Ecstasy led to a glittering Hollywood life. Behind the scenes, this glamour icon’s ground-breaking, but completely uncredited inventions, are the basis of cell phone and Bluetooth technology. Dealing with repercussions of both sides, her later years become reclusive, impoverished and almost forgotten. Tuesday, Jan 16, is The Freedom to Marry (7:30pm at The J). The profound, emotional, untold story of how same-sex marriage became law of the land. The Freedom to Marry follows Evan Wolfson, the architect of the movement, civil rights attorney Mary Bonauto and their key colleagues on this multi-decade long battle, culminating in a dramatic fight at the United States Supreme Court. More than the saga of one movement’s history, this is an inspiring tale of how regular people can change the world.

The Guys Next Door The Freedom to Marry

Wednesday, Jan 17 is The Guys Next Door (5pm at The J). Raised in a Jewish family, Rachel and her husband Tony are a traditional married couple living in the Boston suburbs with their three teenage children. But there’s nothing traditional about Rachel’s decision, at 41, to become a surrogate for Erik, her friend from college, and his husband Sandro, twice within two years. The Guys Next Door explores the intimate struggles and possibilities that creating family brings. Saturday, Jan 20 is On the Waterfront (7:30pm at The J). Leonard Bernstein’s only original film score can be found in this classic film, starring Marlon Brando as an ex-boxer getting mixed up with mobsters while working on the docks of Hoboken’s waterfront. Jamie Bernstein, daughter of Leonard Bernstein will introduce the film and take questions afterwards. For more information, including the complete schedule, tickets and passes ($8$118) please visit:

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Sun. Jan. 14

Fri. Jan. 12

Sheila E.

The Hot Sardines

Rialto Theatre

Fox Theatre

Tues. Jan. 16

Wed. Jan. 17

Warren Wolf Crowder Hall

Thurs. Jan. 18

Lew Tabackin

Fri. Jan. 19

The Mingus Dynasty

Diane Schuur

Sat. Jan. 20

Fox Theatre

Fox Theatre

Sun. Jan. 21

Spyro Gyra

Rialto Theatre For more info visit or call 520-428-4TJF(4853)

Fletcher McCusker

Scottish Rite

Wycliff Gordon Club Congress

Tucson Jazz Festival

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A Destination Event a Zócalo Mag Q & A In its 4th year, the HSL Properties Tucson Jazz Festival has become a destination for jazz fans from across the country. Happening this year Jan. 11 through Jan. 21, the lineup includes a dozen performances, including feature acts Sheila E., Spyro Gyra, Arturo Sandoval and The Hot Sardines. The festival’s Executive Director, Yvonne Ervin, shared some of her thoughts with us in the interview below. Be sure to check out the festival lineup on the next page and visit for tickets and complete details.

Zocalo: Can you tell us a little about how the Jazz Festival got started four years ago? Yvonne Ervin: In January 2014, I was at a jazz gig my friend Jeff Haskell was playing, at a restaurant in my neighborhood. Mayor Jonathan Rothschild pulled me aside and said that he and his friend, Elliot Glicksman, wanted to start a jazz festival in Tucson in January when tourism was slow. “I understand that you’re the only person who could pull that off,” he said. “You’re right!” I answered immodestly, but truthfully. Then, in what I call my “get me the witches broomstick moment” I said, “I’ll tell you what, I’ll help and if you and your friends can raise a hundred grand in six weeks, I’ll quit my job at the university and do it.” Honestly, I didn’t think it would work. But, to my surprise, we raised $125,000 in six weeks. Everyone said “yes” when we came calling and these were people I couldn’t raise a dime from for the university program I was working for. In fact, our title sponsor, Humberto Lopez of HSL Properties signed on for $50,000 before the salad came at lunch and he signed on for another five years before the first festival. So, I quit my job at the university, took $15,000 pay cut and went to work full-time in May. I patterned the festival after the Portland Jazz Festival and designed a two-week festival with a $400,000 budget with half the funds from ticket sales and the other half from sponsorships. The festival included a free outdoor festival on MLK Day with two stages (something they can’t do in Portland in February). We formed a board with Elliot Glicksman, Isaac Rothschild, the mayor’s son, and composer and music businessman Dan Coleman. How has it involved since then? The festival hasn’t evolved much. In fact, the first festival was longer (13 days) than any of the subsequent festivals. What has grown is the Downtown Jazz Fiesta – we have four stages this year instead of the two we had the first two years. Our audience has also grown and we sell-out one more concert every year. We’ll sell out at least four this year. Our board has grown to six people and we finally have another employee, Missy Paschke-Wood who is the development director. How would you describe Tucson’s overall relationship with jazz? When I was running it in the 80s and 90s, the Tucson Jazz Society was the biggest jazz society in the country with 2,400 members and 42 concerts a year. I don’t think Tucson lost interest in jazz when I left for NYC in 1998 but I think the programming and the membership management suffered and they probably only have a couple hundred members now. They started booking smooth jazz along the way, which I believe ruined the brand that I had carefully established. I think the festival has proved that there is still an audience for jazz in Tucson, you just have to know what to book and where to find the fans. The fans are on social media, which is how we sell the bulk of our tickets. Can you share some of the historical or famous connections the Tucson region has with jazz or jazz musicians? Well, Charles Mingus was born in Nogales, AZ, which is why I’m chair of The Mingus Project and produce a free, daylong outdoor concert there every

April and we have built a memorial park for Mingus there. We have Jason Carder, a virtuoso trumpeter who plays with Yanni and Brice Winston who plays saxophone with Terrence Blanchard (Jason and Brice are playing a jazz brunch at Johnny Gibson’s on Jan. 21 with Jeff Haskell). Paul Horn lived here for quite a while. Now we have drummer Lewis Nash living here when he’s not on the road. Seems like Tucson has bred quite a few young jazz musicians who have advanced into successful careers. Is there something unique happening here? Yes, it’s the Tucson Jazz Institute that is training these young people, especially Doug Tidaback who directs their Ellington Big Band. This is the band that was the #1 High School Big Band winner two years in a row (2013 and 2014) and in 2017 of the prestigious national Jazz at Lincoln Center Essentially Ellington Competition presided over by Wynton Marsalis. They were in the top three in 2015 and 2016. This band usually starts off the school year pretty “rough” but by January, Doug has whipped them into shape. I’ve seen individual soloists blossom virtually overnight. Only a handful of them will go on to become full-time jazz musicians but they will become the audience for the music. What are some of the highlights of this year’s festival? Our biggest selling shows are The Hot Sardines, which I call Dixieland on steroids; Sheila E. who will be performing music from her very political new album, Icon; and Spyro Gyra which has been around for more than 40 years. I’m looking forward to The Mingus Dynasty playing music from Mingus’ “Tijuana Moods” Tell us about the partnership with the Desert Song Festival. The Tucson Desert Song Festival starts during the second half of our festival so we are starting to partner with them in promotion and we will book at least one act every year who fits into their theme. They don’t give us any money, like they give to other organizations but they will begin to do that next year. This year’s concert is the Diane Schuur and Bill Charlap show on Jan. 18. Bill and his trio will play music by Leonard Bernstein and Diane will sing “Somewhere” as an encore. I also booked Jay Leonhart for the last show – he does a very funny song about flying first class across the country seated next to Bernstein. What’s the future of the festival look like? Next year is the fifth festival and I want to do a big show that will fill the TCC Arena. It’ll have to be a double bill that cuts across genres to draw 5 or 6 thousand people. Anything else you would like to add? The festival has succeeded regarding the Mayor’s objective to increase tourism. Hotel occupancy has gone up every January, which Visit Tucson credits to the festival and 50% of the ticket buyers for the past three festival came from 50 or more miles from Tucson. n January 2018 | 19

20 | January 2018

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TUCSON JAZZ FESTIVAL Experience world class jazz musicians at the annual festival, with a lineup including Hypnotic Brass, The Hot Sardines, Arturo Sandoval, Grammy winning percussionist and vocalist, Shelia E., Lew Tabackin Trio, The Mingus Dynasty, Spyro Gyra, and more. On Martin Luther King, Jr. Day, the free Downtown Jazz Fiesta will take place from 10am-6pm on 8 stages all over downtown Tucson. Tickets: Most shows are $35-$45 with a few exceptions. For tickets and more visit:


Trumpeter Matt Holman

FRIDAY, JAN. 12, FOX THEATRE, 7:30 P.M. The Hot Sardines, with Robbie Lee opening.

SATURDAY, JAN. 13, CLUB CONGRESS, 7:30 P.M. Trumpeter Matt Holman.

Trumpeter Arturo Sandoval

SATURDAY, JAN. 13, TCC MUSIC HALL, 7:30 P.M. Trumpeter Arturo Sandoval, with the Tucson Symphony Orchestra.

Wycliffe Gordon

SUNDAY, JAN. 14, TCC MUSIC HALL, 2 P.M. Trumpeter Arturo Sandoval, with the Tucson Symphony Orchestra.

SUNDAY, JAN. 14, MAIN GATE SQUARE, 5-7 P.M. Doc Jones Band with Neamen Lyles. Free.

SUNDAY, JAN. 14, RIALTO THEATRE 7:30 P.M. Vocalist and percussionist Sheila E.

MONDAY, JAN. 15, 5TH & CONGRESS, 11 A.M. TO 7 P.M. Free Downtown Jazz Fiesta with 11 bands on 4 stages.


Dennis Rowland

Vibraphonist Warren Wolf, with UA Studio Jazz Ensemble.







The Hot Sardines

Saxophonist/flutist Lew Tabackin Trio.

THURSDAY, JAN. 18, FOX TUCSON THEATRE, 7:30 P.M. Vocalist Diane Schuur with saxophonist Ernie Watts, Bill Charlap Trio “Somewhere: The Music of Leonard Bernstein”, Part of the Desert Song Festival.

FRIDAY, JAN. 19, FOX TUCSON THEATRE, 7:30 P.M. The Mingus Dynasty “Tijuana Moods”, with the Tucson Jazz Institute Ellington Band and guests Lew Tabackin and Dennis Rowland opening.



Bill Charlap

Jeff Haskell, Jason Carder and Brice Winston. No Cover charge

SUNDAY, JAN. 21, CLUB CONGRESS, 7:30 P.M. Wycliffe Gordon and Jay Leonhart.

Jay Leonhart January 2018 | 21

Z sustainability

River Run Network Working to Restore Tucson’s Historic Waterways by Craig Baker

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22 | January 2018

WHEN THE FIRST locomotive charged, smokestack bellowing, into town in 1880, Tucson lurched into a new industrial age. “Ask a school boy what laid the foundation for the grander[sic] of the Roman Empire and he will answer: The construction of roads,” proclaimed pioneer Charles D. Poston’s op-ed in the Arizona Daily Star on March 9 of that year. And, at this moment, Poston asserted, “The ancient pueblo of Tucson is roused from the lethargy of ages, and is embraced in the network of the civilized world.” The population ballooned to more than 7000 that year—nearly double what it had been just a decade before—and though it stagnated somewhat for the next two decades, come the turn of the 20th Century, the trajectory of growth skyrocketed. By 1910 Tucson was home to more than 13,000 people, and it topped 20,000 by 1920. During this time, rivers like the Rillito and Santa Cruz saw perennial (meaning year-round) flow, if only intermittently and people were apparently still fishing from the Santa Cruz River near downtown Tucson the same year the Southern Pacific Railroad rolled into town. But a growing population meant a growing need for resources and, in order to meet demand, 1890 also saw the start of groundwater pumping by Tucson Water, as well as the beginnings of the local sewer and water pipeline systems. The technology needed to dig deeper wells and pump greater quantities of water improved, and, so, Tucsonans pumped more water. And, again, Tucson grew, and, again, we pumped still more water. Largely as a result of the overpumping of groundwater and a dearth of water being recharged into the underground aquifers, during a period that stretched primarily between the 1940s and the 1960s, Tucson’s water table ultimately began to drop and its local perennial streams, creeks, and rivers started drying up. Today, as most Tucsonans know, what remains of our once-flowing rivers are largely dry wash beds that only see water during heavy storms, or when they are recharged directly with wastewater. According to Catlow Shipek, Policy and Technical Director for the local non-profit Watershed Management Group (WMG), in 1908 at the confluence of the Santa Cruz and Rillito Rivers, even when there was no water flowing above ground, the water level could be found just five feet below the surface of the earth—or ten to fifteen feet during the dry season—which was enough to support riparian vegetation like cottonwoods and willows. Today, the water level in that same area hovers at a depth somewhere between 100 and 150 feet underground in most places. As it stands, groundwater and surface water, though interrelated in terms of the abundance and accessibility of either, are treated as separate entities which are managed by independent agencies—the Arizona Department of Water Resources, Tucson Water, and other municipalities, for instance, are

Photo courtesy Watershed Management Group

sustainability Z

Watershed Management Group’s River Run Network is a group of people working together to restore Tucson’s heritage of flowing creeks and rivers. Pictured: Tucson’s Rillito River at Alvernon Way.

primary caretakers of our underground aquifers, whereas flood and rainwater are managed in part by the Department of Transportation and the Pima County Regional Flood Control District, and wastewater is managed by yet another governmental arm. “Right now,” says WMG’s Executive Director Lisa Shipek (yes, she and Catlow are married), groundwater and surface water “are treated as two separate things legally, but you can’t have regular surface flow unless you have groundwater levels that are high enough to support base flow.” Makes sense. Though the gathering of the science necessary to measure, monitor, and diagnose each small streamshed which contributes to the larger Tucson Basin watershed is still in process, Lisa Shipek insists that “we know enough about the watershed…to know that it’s possible to restore the groundwater levels and the flow” to our rivers and streams. But to do so they’ll need your help. All of you. Enter the River Run Network—WMG’s newest tool which they hope will help them to achieve their fifty-year vision to restore flow to Tucson’s waterways to their historical potential. With membership at 550 after the first year of operation (fifty more than their goal for the year), WMG is beginning the process of looking at each of the 28 unique streamsheds they’ve identified across the Tucson Basin in order to come up with data on water availability, usage, and evaporation, and to thereby make recommendations as to what it will take for locals to fully recharge the portion of the local aquifer on which they live. Efforts in the Sabino and Tanque Verde Creek streamsheds have yielded some encouraging figures—such as a prescribed eleven percent reduction in groundwater pumping and eleven percent increase in recharge to restore perennial flow to Sabino Creek—though there are still 24 streamsheds to study, as well as plenty of outreach, education, and action to undertake on the horizon in order to make the dream of basin-wide streamshed restoration a reality.

WMG took home the top prize at the Social Venture Partner’s Fast Pitch event in November to help keep the ball rolling—the first environmental organization to be invited to the non-profit mentoring program in its threeyear history, let alone to emerge victorious amidst a pool of eight competing non-profit groups at the final event—though the $10,000 award is but a small piece of the $250,000 WMG is hoping to raise in support of the program next year. And the idea is not just to examine and diagnose each area’s potential for supporting flowing surface water, but to then engage the community directly through educational events, workshops, and restoration projects in support of the mission of actually restoring stream flow. Those interested in learning more about the streamshed in which they live and how they can implement projects to maximize water recharge there can do so online. Registrants will then be alerted about upcoming volunteer projects and monitoring opportunities available near them as they arise. And, to kick off this year’s efforts, WMG will be holding monthly Creek Walks in a number of priority streamsheds for anyone looking for ways to learn more about the greater Tucson Basin and its contributory waterways. The first will take place on Saturday, January 20 from 3 pm to 6 pm in the Upper Rillito streamshed. The event is free, and registration is available online via WMG’s website, though space is limited, so sign up early to guarantee your spot. So, while others are counting calories or footsteps, taking on new hobbies, diets, or adopting new stress management strategies in an effort to improve themselves for the New Year, why not hop online and make the pledge to help take part in restoring the Tucson Basin to its former hydrological glory? Think of it like signing up for the gym, but without the guilt of skipping on cardio. For more information on Watershed Management’s River Run Network, visit n January 2018 | 23

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arts Z

Magic and Realism The Paintings of Gail Marcus-Orlen by Gregory McNamee THE OLDEST PAINTING in Gail Marcus-Orlen’s overstuffed Tucson studio dates back half a century, a slice-of-life study in portraiture that, at first glance, looks as if it might be homage to the understated style of Edward Hopper. Passing by it, you sense that it has a scene you have seen before from a passing car window, but it is different. There is no such familiarity with the second oldest work of art in her collection, a portrait of her late husband, the poet Steve Orlen, whom she met at about the same time as she painted the first. The portrait is vibrant and anything but muted, much like its subject. It’s mischievous, with a touch of the superheroic about it, and it’s clear that just as he’s enjoying life, we should be, too. Gail Marcus grew up in New York City. She knew from a very early age, she says, that she was going to be an artist: “I could put my head down and create. I could live in my own world,” she says. Her father, who worked in the garment industry, recognized her talent and encouraged it, though, having lived through the Depression years, he worried that she would not be able to make a living as an artist. So he struck a compromise with her: Gail, he said, could study art, as long as she also studied illustration so that she could find work drawing posters, advertisements, and the like in the business he worked in. So it was that Gail entered the Fashion Institute of Technology, the renowned trade school in Manhattan. In 1967, after a year there, she took a summer course in painting in Tucson. She returned to New York determined to paint something beyond advertisements for women’s clothing. Fortunately, she says, an understanding teacher encouraged her to run with her vision, and so she did. She finished up at FIT, then headed back to Tucson, where she had been

dazzled by the light and liked the scene. There, early on, she studied with Bruce McGrew, the renowned painter, who taught at the University of Arizona until his death in 1999. She has said that McGrew ranks as her chief influence: “He created amazing colors and used such beautiful brushwork,” she writes in an artist’s statement, adding, “He taught by example and inspiration.” At the same time, she put her illustration training to work doing layout and pasteup for the Arizona Daily Star, back in the day when glue pots and X-Acto blades served to do what computers do today. Grounded in ordinary life, she allowed herself free flight in her own work, which soon shifted from the broadly representational to the joyfully mysterious, marked by bright colors in striking combinations from the first. She has been able to put her head down, create, and live in her own world since those early days, and she has worked hard to make and keep that world. As she has also said, “I love the isolation of the studio where I can close the door and leave the world outside. The smell and feel of the materials take over. All that matters is the art.” In that setting, time swirls by or stands still; either way, it is immaterial, and the world outside is a dream wide open to the artist for interpretation. Marcus-Orlen’s work has been characterized as coming from the tradition of magical realism, and although one wouldn’t want to reduce it unnecessarily to a strict definition of what that means, many of her compositions seem to be set in places where ordinary life meets dream, if not myth. For as long as I’ve known her work, I’ve thought that many of her pieces show a kinship with Henri Rousseau, the great postimpressionist painter of leafy, dark, mysterious continues...

January 2018 | 27

photo: Gregory McNamee

arts Z perhaps a long-tailed mouse—all elements that don’t appear in the work on canvas, but instead seem to map out how different spaces will be used. “In my smaller paintings,” she says, “I usually don’t even sketch out that far. They just happen. Large or small, as soon as you put something down on paper, you realize once you get into the painting itself that it’s not going to work—this isn’t going to go with that, and everything changes.” For all its playfulness, Marcus-Orlen’s work is rigorously formalist, born of an extensive education in art history matched by half a century and more of work in the studio. Lately, she has been experimenting with small brushes and a pointillist style that wouldn’t be out of place in a postimpressionist gallery, even if the color combinations might surprise the likes of Gauguin. Other experiments have involved different takes on perspective. The camera obscura of the Renaissance and the techniques all artists since have made use of vanishing points and carefully laid out grids, but, she points out, modern painters are more given to making use of spaces their predecessors ignored. “One thing,” she says, “is to put important things up at the top, instead of losing it. In old paintings, you just drift into the sky or the ceiling. In contemporary painting, with perspective, you go back, and then you come forward again. Your eye moves around and around and around. When I taught”—MarcusOrlen taught painting for 25 years at the Tucson Museum of Art school—“that was one of the things I emphasized: how to get your eye moving around, and how to create works that got your viewer’s eyes moving around as well.” So it is that Marcus-Orlen’s paintings typically have things happening at the edges as well as the center; if a harlequin stands at center stage, there’s likely to be a hummingbird or two, if not a giraffe or a hawk, pulling your eye in another direction. Gail Marcus-Orlen has been a Tucson treasure for decades. She was a founding member of the Dinnerware cooperative, a collective of thirteen artists who exhibited together in what was an all but abandoned downtown in the late 1970s, a movement that sparked much of the art scene today. Any time her work is shown, it’s an occasion. Those showings are infrequent—in 2014, for instance, her work was featured alongside paintings by Lynn Taber and photographs by William Lesch at the Etherton Gallery, a memorable exhibit whose self-explanatory title was “Under the Violet Sky.” They’re well worth looking for. Meanwhile, some of her work is on permanent display at Etherton, and a selection of her paintings is also on display at the Café a la C’Art in the Tucson Museum of Art. n

places. Marcus-Orlen doesn’t disavow the thought, but she thinks of her work as drawing more on other postimpressionists, especially Paul Gauguin, whom she admires for his striking colors and, as with McGrew, his imaginative brushwork—brushwork that, as with her own work, is tactile and immediately visible, like that of another model, the American-born impressionist Mary Cassatt. Moreover, Marcus-Orlen’s take on magical realism has a sense of playfulness and whimsy, and without the cynicism of another hero, René Magritte, even if the mystery can sometimes seem to have a slightly menacing edge, especially if you’re afraid of clowns—or birds, for that matter. For the most part, her characters are clearly having more fun than we are in the world outside, though sometimes, it seems, they are as puzzled as we might be about how they wind up in the situations they’re in. In one recently finished painting, for instance, a well-dressed cat strikes a Fred Astaire pose, flanked by a kangaroo, a mouse, and another cat more fitting to an Egyptian tomb than a tuneful musical. To the side, a young woman prepares for a Ginger Rogers part, while an Australian shepherd ponders another mouse in pursuit of a hummingbird—for in most of Marcus-Orlen’s work over the last many years, flowers and hummingbirds are somewhere present. Musical notes, balloons, and lights fill the frame, while a window offers a tantalizing glimpse of a green country outside. It’s not just the figures in the paintings but the colors in which they appear that add to the magic. “Lately,” says Marcus-Orlen, “I’ve been playing with colors that, according to traditional theory, you shouldn’t put together, like red and pink and orange all next to each other. I’ve been trying to play with the color wheel and not worry too much about whether it makes sense. What matters is how it looks.” When I visited her in her studio, her cat-and-mouse composition wasn’t quite finished, and Marcus-Orlen was still working out what was needed. A week later, I stopped in again, and she had completed the work by adding a band of royal purple in the immediate foreground beneath a swatch of cobalt— precisely the kind of thing that might get a kid a scolding in art class, but that works impeccably in the other universe that Marcus-Orlen’s work allows us to visit. These things happen as they will. “I let the painting tell me what it wants to be,” she says. “What it needs to be.” In that spirit, she occasionally sketches out beforehand what a larger piece might contain: In the case of the cat-andmouse painting, for instance, a few arches of the kind often found in older Tucson houses, and a figure that appears to be wearing a Santa hat, and

photo: courtesy Gail Marcus-Orlen

Gail Marcus-Orlen showing a (rough) sketch for an untitled work in progress.

Study in magical realism, with birds, cats, rabbits, and a view of the world beyond January 2018 | 29

Z performances

John Kamfonas & Eric Edberg, Tues 30, Sea Of Glass--Center For The Arts



Takacs Quartet, Jan 17, 7:30pm. Leo Rich Theater, 260 S. Church Ave. Bernstein Bash, Jan 31, 7:00pm, Crowder Hall, 1017 N. Olive Rd. 520-577-3769.

January 4, doors at 6:30pm, show at 7:00pm, The Sea of Glass Center for the Arts, 330 E. 7th St. 520-7304112.

ARIZONA OPERA Vocal Recital: Jennifer Johnson

John Steinbeck, January 11-28. The Historic Y, 300 E. University Blvd. 520-551-2053.

Cano, January 17; Candide, January 27 & 28; Vocal Recital: Lisette Oropesa, January 30. See website for performance locations and times. 520-293-4336.


Outside Mullingar, Jan 20 - Feb 10. Temple of Music and Art, 330 S. Scott Ave. 520-884-8210.

CARNIVAL OF ILLUSION Jan 20, 26, 27 at the Scottish Rite Cathedral Grand Parlor, 160 S. Scott Ave. 520-615-5299.




Katelyn Emerson, January 26, 7:00pm. Catalina United Methodist Church, 2700 E. Speedway Blvd. OrganFestival


Jack Hanna Into the Wild Live!, January 7, 4:00pm; The Hot Sardines, January 12, 7:30pm; Illusionist Michael Howell, January 13, 7:00pm; Diane Schuur Quartet, January 18, 7:30pm; The Mingus Dynasty, January 19, 7:30pm; The Fab Four: Ultimate Beatles Tribute, January 20, 7:30pm; G3 2018 Tour, January 21, 7:00pm; Cirque D’Or, January 26 & 27, 7:30pm; 17 W. Congress St. 520-6241515.

THE GASLIGHT THEATRE The Lone Stranger, January 5 to March 25. 7010 E. Broadway Blvd. 520886-9428.

INVISIBLE THEATRE The Apartment, January 4, 7:00pm at the Loft Cinema; Twist of Lemmon, January 6 & 7 at the Berger Performing Arts Center. 520-882-9721.

LAFFS COMEDY CAFFE Tyler Boeh, January 5 & 6; Bryan Ricci & Pauly Casillas, January 12, 13, 14; Jason Russell, January 19 & 20; Duane Goad, January 26 & 27; 2900 E. Broadway. 520-32-Funny.


The House of Blue Leaves, January 4 to February 10; RAPunzel January 14 - March 18 in the Family Theatre. 5317 E. Speedway Blvd. 520-327-4242.

30 | January 2018

THE ROGUE THEATRE The Grapes of Wrath by

THE SEA OF GLASS CENTER FOR THE ARTS John Kamfonas & Eric Edberg, January 30, 7:00pm. 330 E. 7th St.520-730-4112.

SO. AZ SYMPHONY ORCHESTRA Chinese New Year Celebration with the Tucson Sino Choir, 7:30pm January 27 and 3:00pm January 28. See website for locations. 520-308-6226.


John Edward Group, January 19, 7-9pm; Justin Moore and Dylan Scott - Hell on a Highway, January 23, 7:30pm. 260 S. Church Ave.


Bernstein at 100, Various events from January 16 to February 4.

TUCSON JAZZ FESTIVAL Various events from January 11 - 21.




Mozart Symphony No. 29, January 5-6; Gil Shaham, violin, January 12; Arturo Sandoval, trumpet, January 13; Bernstein: Kaddish, January 19; Monsters in the Music Hall?!, January 20. See website for locations and performance times. 520-882-8585.

UA PRESENTS Hypnotic Brass Ensemble, January 11; Tucson Celebrates Dr. Martin Luther King Jr., January 14; Yevgeny Kutik, violin January 17; Momix Opus Cactus, January 18; Frankie Valli & the Four Seasons, January 21; Chita Rivera, January 23; Bernstein Mass, January 26 & 28. 520-621-3364.

UNSCREWED THEATER Family friendly shows every Friday and Saturday night at 7:30 pm. 3244 E. Speedway Blvd. 520-289-8076.



DOWNTOWN 711 South 6th Avenue 520-884-7404

January 2018 | 31

Z art galleries & exhibits ETHERTON GALLERY

In the main gallery, Mementos: Rodrigo Moya, Graciela Iturbide, Masao Yamamoto opens with a reception Jan 13 from 7-10pm. Todd Walker at 100 (1917-1998); Frank Gohlke, Speeding Trucks and Other Follies; with photographs of Bears Ears National Monument by Stephen Strom closes Jan 6. Tue-Sat 11am-5pm or by appointment. 135 S. 6th Ave. 520-6247370.

Masao Yamamoto is making a special trip from Japan to attend the opening of his show on Saturday, January 13, 7-10pm, and will sign books. He will also give a lecture at the Center for Creative Photography at the University of Arizona at 5:30pm, Friday, January 12.

Above: Masao Yamamoto, #1684 from Kawa=Flow, 2016 gelatin silver print with mixed media, © ️Masao Yamamoto, courtesy Etherton Gallery. Top Left: Rodrigo Moya, La vida no es bella, Coahuila, México. 1965. ©️ Rodrigo Moya, courtesy Etherton Gallery. Left: Graciela Iturbide, Los Pollos. ©️ Graciela Iturbide, courtesy Etherton Gallery.

32 | January 2018

art galleries & exhibits Z

Graciela Iturbide, Senora de las Iguanas, Juchitan, 1979. ©️ Graciela Iturbide, courtesy Etherton Gallery.

ARIZONA HISTORY MUSEUM Currently on view: History Lab, Chasing Villa,

DESERT ARTISANS GALLERY Color Space and Combos Miniatures is on view

The Silverbell Artifacts, Geronimo Exhibit, Arizona Historical Society 150 Exhibit. Hours: Mon & Fri 9am-6pm; Tues-Thurs 9am-4pm; Sat & Sun 11am-4pm. 949 E. 2nd Street. 520-628-5774.

through Feb 4. Trunk Show: Linda Baker & Joni Pevarnik is on Jan 6 from 10am-1pm. Hours: Mon-Sat 10am-5pm; Sun 10am-1:30pm. 6536 E. Tanque Verde Rd. 520-7224412.


EVERYBODY GALLERY Strawberry Lemonade by Henry Codax is on view to Jan

Long term exhibitions include, Life Along the River: Ancestral Hopi at Homol’ovi and Woven Through Time: American Treasures of Native Basketry. Hours: Mon-Sat 10am-5pm. 520-621-6302. 1013 E. University Blvd. StateMuseum.Arizona.Edu

CACTUS WREN GALLERY See website for details. Hours: Everyday from 9am to 4pm. 2740 S. Kinney Rd. 520-437-9103.

CENTER FOR CREATIVE PHOTOGRAPHY Courting Failure, Embracing Risk: Mark Klett and Collaboration is on view to May 20. Hours: Tue-Fri 9am-4pm; Sat 1-4pm. 1030 N. Olive Rd. 520-621-7968.

17. Hours by appointment. 101 W. 6th St, Studio Q. Everybody.Gallery

IRONWOOD GALLERY Colors of Cabo Pulmo opens Jan 20 from 2-5pm and is on view to April 8 . Hours: Daily 10am-4pm. 2021 N. Kinney Rd. 520-883-3024.

JOSEPH GROSS GALLERY Natalia Anciso is on view to Jan 26. Hours: Mon-Fri 8am-4pm. 1031 N. Olive Rd. 520-626-4215.


Tues-Sat 10am-3:30pm. 110 E. 6th St. 520-398-6557.

Trans-Atlantic is on view Jan 29 to March 9 with a reception on Feb 1 from 4-6pm. Artist lectures are on Feb 1 at 6pm and Feb 18 (time to be confirmed). Hours: Mon-Thurs 10am-5pm, Fri 10am-3pm. Pima Community College, 2202 W. Anklam Rd. 520-206-6942. Pima.Edu/CFA

DAVIS DOMINGUEZ GALLERY Josh Goldberg and Claire Campbell Park is

MINI TIME MACHINE David Fischer: Model Builder Extraordinaire is on view to

on view to Feb 24. Hours: Tues-Fri 11am-5pm; Sat 11am-4pm. 154 E. 6th St. 520-6299759.

Apr 29 and George Stuart Historical Figures: Early Works from the Hernandez Monsanto Collection Part II continues through Jan 21. Hours: Tues-Sat 9am-4pm and Sun 12-4pm. 4455 E. Camp Lowell Dr. 520-881-0606.

CONTRERAS GALLERY Milagros is on view through the end of January. Hours:


DeGrazia’s Fun and Games and DeGrazia’s Cowboys are on view to Jan 23 and 24. In the Little Gallery, Brenda Peo, Oils on Canvas is on view Dec 31 to Jan 12 (closed New Year’s Day) and Chip Travers, Mixed Media is on view Jan 14 to 26. Hours: Daily 10am-4pm. 6300 N. Swan Rd. 520-2999191.

MUSEUM OF CONTEMPORARY ART Opening exhibitions include: Rosson Crow | Westification; Rose Even | In Residence; Victoria Fu | Out of the Pale; Robert Melee’s Town and Country; Brian Zanisnik | Carl Jung’s Assault Rifles The Game. Hours: Weds-Sun 12-5pm. 265 S. Church Ave. 520-624-5019.

January 2018 | 33






January 29 - March 9, 2018 Reception & Gallery Talk: February 1, 4-6 p.m. Lecture - Rodolfo Morales by Nancy Mayagoitia: February 1, 6 p.m.

Images (l-r): Philippe Salaün - Dign Bien PUV, February 16, 2004, gelatin silver with indigenous woven fiber matte (Vietnam) Vicki Ragan - Juana Calvo, San Martin, Mexico,1989, gelatin silver Rodolfo Morales - Mermaid, collage, ROMO-017- J Helen Baribeau - Giant Garden Glove with Blue Bugs, 3’x5’, handmade paper, thread, relief prints

Louis Carlos Bernal Gallery

34 | January 2018

art galleries & exhibits Z

DAVIS DOMINGUEZ GALLERY Josh Goldberg and Claire Campbell Park is on view to Feb 24. Hours: Tues-Fri 11am-5pm; Sat 11am-4pm. 154 E. 6th St. 520-6299759.

Images: Top - Song of the Dawn Sleeper, 2017 acrylic on canvas; Right Golum as Homo Faber, 2014, collage, both by Josh Goldberg.


TUCSON MUSEUM OF ART Current exhibitions include Desert Dweller on view

PORTER HALL GALLERY Manabu Saito is on view to April 2018. Hours: Daily

to Jan 21 and Dress Matters: Clothing as Metaphor continuing through Feb 18. Ongoing exhibits include the J. Knox Corbett House and in La Casa Cordova. Hours: Tues-Wed & Fri-Sat 10am-5pm; Thurs 10am-8pm; Sun 12-5pm. 140 N. Main Ave. 520-624-2333.

New Works from Hunting Studio Glassworks is on view to Jan 27. Tues-Sat 11am-4pm. Call for glassblowing viewing. 711 S. 6th Ave. 520-884-7404.

8:30am-4:30pm. 2150 N. Alvernon Way. 520-326-9686.

SOUTHERN ARIZONA TRANSPORTATION MUSEUM Dinner in the Diner is currently on display featuring original china and silver service from the named first class Pullman trains. 414 N. Toole Ave. 520-623-2223.

TUCSON PASTEL SOCIETY Winter Charity Show opens Jan 21 with a reception from 12-2:30pm and is on view to Mar 1 at the Murphy Gallery, St. Phillip’s in the Foothills Episcopal Church, 4440 N. Campbell Ave.


50th Annual Show 2018 is on view Jan 9 to Feb 4 with a reception Jan 11 from 5-7pm. Hours: TuesSun 11am-4pm. Williams Centre 5420 East Broadway Blvd #240. 520-299-7294.

Current exhibitions include, You Are Here: Mediated Understanding Of Our World on view to Apr 1; Our Stories: Mapping Q on view until April 22; In Transit / En Transit is on view until Mar 11 and X, Y, Z: Art In Three Dimensions on view to Jun 24. Tinkerlab, a makerspace is open through Jan 21. Hours: Tues-Fri 9am-5pm; Sat-Sun 12-4pm. 1031 N. Olive Rd. 520-621-7567. ArtMuseum.Arizona.Edu

TOHONO CHUL PARK Jerry Jacobson | The Rust Farm Project is on view to Jan

UA POETRY CENTER Suzanne Hesh: Cursive is on view to Feb 17. Hours: Mon

28 in the Entry Gallery. In the Main Gallery, Desert Corridors is on view to Feb 7 and in the Welcome Gallery, Royce Davenport is on view to Jan 7. Hours: Daily 9am-5pm. 7366 N. Paseo del Norte. (520) 742-6455.

& Thurs 9am-8pm; Tues, Weds, Fri 9am-5pm. 1508 E. Helen St. 520-626-3765. Poetry. Arizona.Edu


TUCSON DESERT ART MUSEUM Vaquero and Charro: An Enduring Legacy is on view through June 30. Colors to Dye For returns Jan 12. Ongoing exhibitions include The Dawn of American Landscape and Arizona Women Uncovered. Hours: Weds-Sun 10am-4pm. 7000 E Tanque Verde Rd. 520-202-3888. TucsonDArt.Org

WILDE MEYER GALLERY Interpretations of Place and Time is on view Jan 11 with a reception from 5-7pm. Hours: Mon-Fri 10am-5:30pm; Thurs 10am-7pm; Sat 10am-6pm; Sun 12-5pm. 2890 E. Skyline Dr. Ste. 170. 520-615-5222,

January 2018 | 35

photo: © RAY YAU

Z tunes

photo: ©2012 Rick Olivier

Hypnotic Brass Ensemble, January 11, Rialto Theatre.

Sheila E – January 14, Rialto Theatre.

BeauSoleil, featuring Michael Ducet, Playing January 27 at El Casino Ballroom. 36 | January 2018

tunes Z

What’s Live Regrets, Cajun Dance and the Unapologetic Bully Pulpit by Jim Lipson

THE COLUMN BEGINS with an apology to the AZ Blues Hall of Fame for not listing its annual post-holiday fundraiser as a featured event last month. Although no one went out of their way to remind me (hint), I should have remembered the week before Christmas and New Year always belongs to this yearly benefit that features so many of Tucson’s (and Arizona’s) greatest blues players. While Tucson’s alternative and indie scene is often touted in places like Europe and Austin (especially during South by Southwest), I believe it is our blues scene, which has roots dating back into the 1960s (check out the Dearly Beloved), that represents our town’s greatest musical riches. I also wish there had been opportunity to plug the Wooden Ball, which seems to have either disappeared from the musical map or been simply not well promoted these last few years. (It was not listed on anyone’s website one month ago.) This is the gig where several of those indie type bands play short, unplugged sets at Club Congress. Typically, it’s an opportunity for bands that are very electric, to briefly reinvent themselves in an all (or mostly) acoustic format. While the results can be uneven, when it works, the sets are quite memorable. December’s event featured a mini who’s who of folks who have not been heard from in a while including River Roses, Greyhound Soul, Four Killer Flats, and Sweet Ghosts. They joined the likes of Howe Gelb, Al Perry and Leila Lopez among others. Finally, looking forward, it is without reservation I plug the upcoming TKMA benefit featuring the Grammy winning and Cajun dance band extraordinaire, BeauSoleil, playing a show on Saturday night, January 27, at Tucson’s famed El Casino Ballroom. Full disclosure alert: While I am still actively involved with TKMA and the production of this event, the only people who will benefit from its success are those who come out to enjoy the Tucson Folk Festival the first week in May. While it is rather remarkable that the Folk Fest can be produced for as little as $50-$60K, this is still a huge amount of cash that needs to be raised. No longer the affable mom and pop organization it has been seen as for so many years, with shows like this, TKMA, with its small all-volunteer army, is figuring out new ways to make itself and the Tucson Folk Festival more of a known commodity. (Because the festival is free and gets no revenues from ticket sales, it must constantly fundraise throughout the year.) At only $20 for an advanced ticket, the El Casino’s big wooden dance floor should be packed for BeauSoleil, which features the great Michael Ducet, who was last in town when BeauSoleil headlined the folk Fest in 2013. Expect this to be one of those nights when the El Casino roars back to life eliciting memories of its halcyon days back in the 1980s and ‘90s when it was an integral part of the memorable KXCI Houserockin’ concert series, of which BeauSoleil was also a part. And now, the rest of the story… Nancy McCallion and the Scarlet Lettermen and Neil McCallion and the Mighty Maxwells – January 6, Monterey Court – Long before Nancy helped make the Mollys an international happening of sorts, she and brother Neil played in a band along with Mollys co-founder Catherine Zavala. While their musical trajectories have taken them to different places, both literally and stylistically, it’s good to see them gigging together. Nancy is a world class songwriter and Neil, well, he’s a world class brother. OK, he’s also a pretty good guitarist and songwriter in his own right.

The Paladins – January 13, 191 Toole – Speaking of the old KXCI Houserockin’ Series, these guys could be seen tearing it up back in the day, on more than one occasion at the El Casino Ballroom. Since re-constituting in 2011, this three-piece, specializing in original rockabilly and blues, is now plugging their new release New World which has added shades of country, soul and even gospel into the mix. David Gonzales on guitar and vocals is still the focus of this band but all of the new tunes have been co-written with bassist David Yearsley. As a footnote to the new CD, Longtime Tucson promoter, mover and shaker, Jeb Schoonover, shares a writing credit on the title cut. Good work Jeb. AZ Blues Hall of Famer Mike Hebert and his Prison Band open. Tucson Jazz Festival – January 11-21, various venues – Over the years, Tucson Jazz has been featured in a number of different ways including the old Jazz Sundaes in Reid park, Jazz at St. Phillips Plaza, as well as various other incarnations of the Tucson Jazz Festival. This year’s event features no fewer than 15 shows spread out over 11 days in mostly downtown locales. While each show easily merits a write-up of its own, these are the ones that jumped out for me… Hypnotic Brass Ensemble, January 11, Rialto Theatre – Opening the Jazz festival, this seven-piece group features the 7 sons of Earth Wind and Fire trumpeter Phil Cohran. What else do you need to know? The Hot Sardines – January 12, Fox Theatre - Music first made famous decades ago comes alive through their brassy horn arrangements, rollicking piano melodies, and vocals from a chanteuse who transports listeners to a different era with the mere lilt of her voice…or so says their PR. Sounds good to me. Sheila E – January 14, Rialto Theatre – Most folks know her through her association with Prince back in his glory days, but Sheila E has been a successful artist in her own right for many years. Downtown Jazz Fiesta, January 15, Downtown Tucson. Celebrating Martin Luther King Day, there will be free jazz on four different stages downtown from 10 am-10 pm, in the Fifth Avenue/Congress Street area. Diane Schuur w/Ernie Watts – January 18, Fox Theatre – Back in the 1980s Schuur seemed to be in Tucson so often there was a sense this Washington State native may have had a second home here. This performance will feature the great Ernie Watts on saxes. Spyro Gyra – January 20, Rialto Theatre – Attending college in western New York in the mid to late 1970s, it was hard not to be wowed by the innovative and contemporary approach this Buffalo based band brought to jazz. It’s second LP Morning Dance, remains a revered classic, so much so that in 2014, the band built a successful tour celebrating the 40th anniversary of that album’s release. Still led by sax player Jay Beckenstein, the band has continued to evolve and cultivate new material. A schedule with additional info on the Tucson Jazz Festival can be found on pages 19 & 21 of this issue. Tickets and info at The Toasters – January 21, Flycatcher – Back in the 1980s when I was doing shows at KXCI, this band was one of the hottest things going with its totally modern take on island based ska music driven by a killer horn section. With three other bands on the bill it’s hard to know when they will actually go on but it’s a 7 pm start time so plan accordingly. n

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THANK YOU Southern Arizona for your support and an awesome 2017! If you’ve resolved to DO MORE GOOD for your community this year, please know that you help thousands of individuals in Southern Arizona realize their potential for themselves & their families by simply shopping or donating a bag of clothing or housewares at Goodwill! It’s THAT easy to do good. L E A R N M O R E AT W W W.G O O D W I L L S O U T H E R N A Z .O R G







G3 2018 TOUR JAN 21 | 7:00 PM







FEB 24 | 7:30 PM







BOX OFFICE: 17 WEST CONGRESS | 520-547-3040

photo: Dave Van Hout

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Sound Alternatives by Jim Lipson

The Paladins IF YOU’RE already familiar with this band, you know the guitar twang and rockabilly grooves that come out of this three piece often sound like a group twice its size. And while this release does have its share of that leave-it-all-out-on-the-dance-floor sound and vibe, with tunes like “If You Were Mine,” “Magic Touch” and “I Know When I’m Not Wanted,” this album offers lots more subtleties than one might expect. For that, guitarist Dave Gonzales and bass player Thomas Yearsley, whose musical partnership has now spanned more than 36 years, should be encouraged and acknowledged in looking for new ways to express themselves. Compositions that immediately stand out are the two instrumentals, “Mar Solitar,” which has the feel of a spaghetti western soundtrack and “Should have been Dreamin,” which, reminiscent of

New World

‘60s surf music, still manages to feel somewhat contemporary. Two other songs that distinguish the album are the title cut, with its deliberate pace and moody affect calling more attention to the lyrics (cowritten by Tucsonan Jeb Schoonover), and “Without Love,” a jaunty country flavored romp that provides the album’s best pure melody. Finally, closing the album is “No Pain Anymore,” a ballad that must surely be a showstopper on-stage, and dripping with so much soul one could almost imagine Otis Redding, smiling down from the heavens, and wishing he’d have had the chance to sing a song this good. The Paladins will be performing on Saturday, January 13 at 191 Toole.


more CDs on next page...

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403 N. 6TH AVE (6TH AVE. & 7TH ST.)

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Connie Brannock Lady on the Bus by Jim Lipson IF YOU didn’t know any better and this was the late 1980s, you’d think you were listening to the latest release from Alligator Records, that great label that helped expose so much unknown talent working in blues, blues-rock, funky blues and soul to much wider (and whiter) audiences. That’s how good this record is and how good Connie is. An accomplished percussionist in her band Little House of Funk and Swingset, it is her voice that is the main attraction here, leading complex arrangements of original compositions punctuated by big horn sections playing to creative charts. While she does not possess what you’d call a classically trained voice, Brannock is intensely emotive snarling through tunes like “Chorizo and Eggs” and “Dance” while also showing her range in crooning her way through the album’s closer “In the Middle of the Night,” or her late ‘70s soul treatment of “Bye-Bye.” And she has no trouble just belting it out as she does on her exuberant blues-rocker “Love and Understanding.” Just for good measure, listeners are also treated to a jazz vocal and arrangement courtesy of the title track which also features the beautiful trumpet of Rick Peron. With no fewer than 30 other musicians involved, including local heavyweights like Bryan Dean, Koko Matsumoto, Heather Hardy, Alvin Blaine, Sabra Faulk, Ed DeLucia, Lamont Arthur, Richard Katz, Hurricane Carla Brownlee and a small gaggle of horn players, extra acknowledgement should be given to sax player Dr. Gary Love, credited with the horn arrangements and Dr. Tyrone Williams and Mark Willis credited for arranging the vocals, which also includes some old school back-ups that also sound great. And speaking of vocals (again), while Brannock’s vocal attack might have benefitted from being just a bit more up in the mix, when leaning in for a better listen, you also benefit greatly by getting an earful more of everything else, which is considerable. So who’s to say this was not by design? n

Ryanhood On Christmas by Jim Lipson THERE IS no doubt that reading (or writing) a review of a Christmas album after the holiday has passed, is akin to shopping for decorations on December 26 when everything is on sale. What the experience may be obviously lacking in holiday magic can be more than made up for in the sheer practicality of being fully prepared for the next go round next year. Putting timeliness, or lack thereof aside then, Ryan David Green and Cameron Hood have produced a masterful album. Collaborating on six original tunes to go along with five covers, but only two of which are even remotely recognizable—Sleigh Ride,” done as a bluegrass/new grass style instrumental, and “Silent Night,” they’ve come up with just the right blend of lyrical reverence for the holiday, good cheer and their usual superior musicianship. And “What is Christmas,” co-written with frequent collaborator Ryan Alford, is a tune with so much melodic bounce, and driven by Green and Hood’s signature harmonies, it can probably be enjoyed at virtually any time of year. Just one listen and this album should have no problem breaking into heavy holiday rotation or onto whatever Christmas playlist you’ve been compiling over the years. n

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The Dianne Schuur Quartet performs at Fox Theatre on Thursday, January 18.

LIVE MUSIC Schedules accurate as of press time. Visit the web sites or call for current/detailed information.

191 TOOLE 191 E. Toole Ave. Tue 2: Cracker & Camper Van Beethoven Sat 13: The Paladins, Mike Hebert Prison Band Tue 16: Pinback Fri 19: Saymyname Thu 25: Radio Moscow, Amplified Heat Tue 30: Koffin Kats

2ND SATURDAYS DOWNTOWN Congress Street, Sat 13: See web site for more information

BORDERLANDS BREWING 119 E. Toole Ave. 261-8773, Fri 5: Mustang Corners Sat 6: French Quarter Sun 7: Kevin Pakulis Fri 12: Ice-9 Sat 13: Tortolita Gutpluckers Sun 14: Kevin Pakulis Fri 19: Austin Counts Sun 21: Kevin Pakulis

Fri 26: Tommy Tucker Sat 27: Oracle Ridge Band Sun 28: Kevin Pakulis

CAFE PASSE 415 N. 4th Ave. 624-4411, See web site for information

CHES LOUNGE 350 N. 4th Ave. 623-2088, See web site for information

CLUB CONGRESS 311 E. Congress St. 622-8848, Wed 3: Southwest Songwriter Showcase, Reymon Murphy, Seanloui, Hector Moreno, David Velasco Fri 5: La Picosa de Tucson, Eclecto Fenix Wed 10: Lucky Devils Band Showcase Thu 11: Bugg & Narrow Head, Hikikomori, Dial Up Fri 12: Tucson Fringe Festival Sat 13: Matt Holman Sun 14: Tucson Fringe Festival Mon 15: Black Market Trust CD Release Party Tue 16: Travesura, Blind John Pope, Chris Hall Wed 17: Audio Push Sun 21: Wycliffe Gordon, Jay Leonhart Wed 31: Gaelynn Lea, Karima

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Photo courtesy

Photo courtesy

Z tunes

Pinback performs at 191 Toole on Tuesday, January 16.




340 E. 6th St. 798-1298, Fri 5: Jae Tilt, Mike Check$, Marley B & Cash Lansky, Jivin Scientist, Jaca Zulu Sun 21: The Toasters, Blue Collar Criminals, Sucker For The Sour, The Endless Pursuit

201 N. Court Ave. 622-0351, Wed 3: Miss Lana Rebel & Kevin Michael Mayfield Thu 4: Freddy Parish Fri 5: Greg Morton & Friends Sun 7: Mik and the Funky Brunch Wed 10: Miss Lana Rebel & Kevin Michael Mayfield Thu 11: Louise Le Hir Fri 12: Greg Morton & Friends Sun 14: Mik and the Funky Brunch Wed 17: Miss Lana Rebel & Kevin Michael Mayfield Thu 18: Mitzi Cowell Fri 19: Greg Morton & Friends Sun 21: Mik and the Funky Brunch Wed 24: Miss Lana Rebel & Kevin Michael Mayfield Thu 25: Hank Topless Fri 26: Greg Morton & Friends Sun 28: Mik and the Funky Brunch Wed 31: Miss Lana Rebel & Kevin Michael Mayfield

CUSHING STREET BAR & RESTAURANT 198 W. Cushing St. 622-7984, Fridays: Pete Swan Trio featuring Matt Mitchell & Scott Black Saturdays: Jeff Lewis Trio

FOX TUCSON THEATRE 17 W. Congress St. 624-1515, Fri 12: The Hot Sardines Thu 18: Diane Shuur Quartet Fri 19: The Mingus Dynasty Sat 20: The Fab Four: Ultimate Beatles Tribute Sun 21: G3 2018 Tour

HACIENDA DEL SOL 5501 N. Hacienda Del Sol. 2991501, Nightly: Live Music on the Patio

THE HUT 305 N. 4th Ave., 623-3200 Sundays: Acoustic Open Mic, with Cadillac Mountain Thursdays: Mockingbirds Saturdays: Mike & Randy’s 420 Show with Top Dead Center

Photo courtesy

Photo courtesy

Mitzi Cowell performs at La Cocina on Thursday, January 18.

THE LOUDHOUSE 915 W. Prince Rd., 393-3598 Se web site for details

MONTEREY COURT 505 W. Miracle Mile, Tue 2: Nancy McCallion & Danny Krieger w/Special Guests Wed 3: Nick McBlaine & Log Train Thu 4: Kata Hay & Dan O’Rourke Fri 5: E2W - $5 Sat 6: Nancy McCallion & the Scarlet Lettermen w/Neil McCallion & the Mighty Maxwells Sun 7: Nancy Elliott & Friends Sunday Brunch Performances, Roots Rock N Roll—Michael P & the Gullywashers and Mike Hebert Prison Band Tue 9: Spontaneous Sessions with Eb Eberlein & Kathleen Williamson Wed 10: Glendon Gross Quintet featuring Gracie Jessop Thu 11: Touch of Gray Fri 12: Solidarite Sympa – African Traditional Music from Ivory Coast Sat 13: Southbound Pilot Sun 14: Nancy Elliott & Friends Sunday Brunch Performances, Frank’nSteel Tue 16: The Tucsonics–Western Swing Wed 17: Eric Schaffer & the Other Troublemakers

Thu 18: Virginia Cannon Presents Fri 19: Amochip Dabney & the AmoSphere Sat 20: Zolopht Sun 21: Nancy Elliott & Friends Sunday Brunch Performances, KXCI & Monterey Court Present Johnny Rawls Band Tue 23: Nancy & Neil McCallion Wed 24: The Brothers Reed— extraordinary folk duo from Ashland, OR. Thu 25: The Titan Valley Warheads Sat 27: Key Ingredients of African Soul Sun 28: Nancy Elliott & Friends Sunday Brunch Performances, Ronstadt “Brothers” Tue 30: The Rough & Tumble Plaza Palomino 2990 N. Swan Rd., 907-7325 See web site for details

RIALTO THEATRE 318 E. Congress St. 740-1000, Sat 6: Strangelove, The Cured, Electric Duke, Idol X Thu 11: Hypnotic Brass Ensemble Sat 13: Zeppelin USA Sun 14: Sheila E Mon 15: Josh Ritter & The Royal City Band, Nicki Bluhm Fri 19: Al Stewart’s Year Of The Cat Sat 20: Spyro Gyra

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Eric Johnson performs at The Rialto Theatre on Tuesday, January 23.

Tue 23: Eric Johnson



536 N. 4th Ave, 622-4300. Tue 2: Tom Walbank, Dos Muñoz Wed 3: Open Mic Thu 4: Eric Schaffer and The Other Troublemakers Tue 9: Tom Walbank, Steff Koeppen Wed 10: Open Mic Fri 12: Cirque Roots Tue 16: Tom Walbank, Dos Muñoz Wed 17: Open Mic Thu 18: Eric Schaffer and The Other Troublemakers Tue 23: Tom Walbank, Steff Koeppen Wed 24: Open Mic Fri 26: Cirque Roots Tue 30: Tom Walbank, Dos Muñoz Wed 31: Open Mic

136 N. Park Ave. Wed 3: Krizz Kaliko Fri 19: Neck Deep Sat 20: Mike Gaube’s Headbangers’ Tribute Show Fri 26: 10 Years

ROYAL SUN LOUNGE 1003 N Stone Ave (520) 622-8872 Sun-Tue: Happy Hour Live Music See web site for information

SAINT CHARLES TAVERN 1632 S. 4th Ave (520) 888-5925 Visit Facebook page for events

SAND-RECKONER TASTING ROOM 510 N. 7th Ave., #170, 833-0121 Fri 5: Heather Hardy Fri 12: Reno Del Mar Fri 19: Amber Norgard Fri 26: Stephen Budd Fri 31: Austin Counts

SEA OF GLASS—CENTER FOR THE ARTS 330 E. 7th St., 398-2542 Tue 30: John Kamfonas & Eric Edberg

SOLAR CULTURE 31 E. Toole Ave. 884-0874, See web site for information

TAP & BOTTLE 403 N. 6th Ave. 344-8999 Thu 4: The Cloud Walls Thu 11: Rich Hopkins & The Luminarios Thu 18: Austin Counts & Tom Walbank Thu 25: Mike Hebert Prison Band with Tommy Larkins Sun 28: Last Sunday Revival

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Z sceneintucson

by Janelle Montenegro instagram / @JMontenegroPhotography

Left to right, top to bottom: Little girl waiting for the beginning of Parade of Lights; Downtown Tucson Parade of Lights; Decorated cars at the Downtown Tucson Parade of Lights; La Fiesta de Tumacacori; La Fiesta de Tumacacori; Cha Cha the clown at the 4th Avenue Street Fair; Kathy Vance at La Fiesta De Tumacacori.

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Z poetry

On The Way To The Outhouse On the way to the outhouse the white of the moonflower by torchlight — Basho Your haiku needs commentary the way a bird needs cooking lessons, but I’d like to thank you for being out that night with a torch, for looking down, for revealing there were outdoor facilities and it was spring or summer, hence the moonflower and its marked whiteness. And I’d like to thank you for choosing not to suffer through the long night by holding it in, that you were On the way, in process, had not yet arrived; that, having arrived and (I assume) completed your task, you went home, probably passed by the same moonflower (though you didn’t say, maybe you were looking up by then); that you felt secure in yourself and wrote a few lines about your experience giving it weight it might not have otherwise had; that you cared enough to share the experience, personal as it was, with me, centuries later, continents away — a stranger having the same experience who might have gone unseeing as the moonflower blooms in the sputter of my torchlight.

Skeps Skeps, mud-wattled, topped by ekes, Snug in timeless, stone-bound boles, Tended by their keepers, our ancient forebears Wise in the ways of the honey-bee. They who tanged to lure errant swarms To be captured for increase. They who burned the fabled brimstone To sacrifice hives for honey and wax, Sweet food in a world without sugar, Sweet light in a world lit only by fire. And when those ancient ones died The living went to the hives To drape them in mourning, To tap on them to tell the bees Their keeper was dead, For untold, the bees would flee. What do we husband today, Gleaning sweetness and light, And wisdom by the way? – Tom Chester

– Michelle Nickol

Michelle Nickol finished her undergraduate work at the University of Arizona where she had the good fortune to study with the inspiring poet Boyer Rickel. She’s worked at Tucson’s only 100% solar powered bookstore, Antigone Books, where she may have asked you, Would you like a bag for that? She is currently working on a collection of poems.

January Poetry Event House of Bards Poetry Reading & Open Mic, Sunday, Jan. 7, 7 pm., 4915 E. Speedway. Open mic following featured poets Dan Gilmore and, from Phoenix, Cynthia Schwartzberg Edlow.

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Tom Chester has lived in Tucson for a year (this time) after long stints in San Francisco and Oregon, keeping bees in both places. He likes the beauty, rich culture, and friendly people of Tucson and Southern Arizona, but he is dismayed by the traffic, ugly commercial architecture, ubiquitous franchise businesses, and soulless housing tracts. He tries to avoid the venomous animals of the area, particularly rattlesnakes and real estate developers.

Zócalo invites poets with Tucson connections to submit up to three original, previously unpublished (including online) poems, any style, 40 line limit per poem. Our only criterion is excellence. Simultaneous submissions ok if you notify ASAP of acceptance elsewhere. Email your submission to Please include contact information: phone number and email address. Notification of acceptance or rejection by email. Zócalo has first North American rights; author may re-publish with acknowledgment to Zócalo. Payment is a one year subscription. The poetry editor is Jefferson Carter,


Sam Hughes Adobe, 2038 E 7th st, $346,000

237 S Bella Vista Dr, $325,000

Adobe Hacienda, 10020 E Snyder Rd, $525,000

39 W 2nd St, $215,000

Merci Warehouse, 630 E 9th St, $1,200,000

520.977.6272 • •

Zocalo Magazine - January 2018  
Zocalo Magazine - January 2018  

Zocalo is a Tucson based independent magazine focusing on urban arts, culture, entertainment, living, food and events.