The Empress of Experimental Music takes her series to The Loft at UCSD

Bonnie Wright takes a little time out in the studio. Dave Good
Bonnie Wright takes a little time out in the studio. Dave Good

By Lonnie Burstein Hewitt

Contributor

One of her musician friends calls her Empress, and Bonnie Wright is certainly a powerful presence in the experimental music scene. It’s something she’d never have dreamed of when growing up in Mission Hills in the 1940s and ‘50s.

“I started out with my parents’ music, jazz and jitterbug,” she said. “I’d dance with my Dad, with my feet on top of his, to things like Duke Ellington’s ‘Take the A-Train.’  Then I moved on to West Coast jazz, and Rhythm & Blues. R&B had a huge effect on me as a teenager.”

It took decades, a divorce, and 20 years as a working single mom before she discovered the kind of music she presents in her Fresh Sound series, which, after four seasons at Sushi performance space downtown, she has now moved to The Loft at UCSD.

Here’s the short story of Wright’s journey: She was working in sales for Levi Strauss in San Francisco in the 1980s when she first heard the sounds that changed her life — Laurie Anderson, Grace Jones, David Byrne. Deciding that what she really wanted had something to do with music, she moved back to San Diego and started attending music seminars at UCSD. At 50, she quit her job and became a fulltime student, ending up with a B.A. and an almost-Master’s degree. Her still-unfinished thesis is titled “Sh-boom: Effects of R&B on White Girls in the 1950s.”

One of her professors, trombonist/composer George Lewis, asked her to tour with him as his road manager. It was an invaluable experience.

“I went to places like Beijing, Amsterdam, and New Orleans with George, and I met everybody,” she said. “So when I was ready to start my own business, I had credibility. I could get through to everyone.”

Her business was the Spruce Street Forum, a center for new music, in the building her father left her when he died. “I’d learned so much at UCSD, I wanted to bring that music into the community so people could have a chance to hear it.”

Spruce Street lasted almost a decade, until the fire marshal demanded impossible changes. Wright sold the building, and took a 3½-year break in New York.

“My whole time there, I was out about five nights a week, imbibing culture,” she said. “Then it started to seem hedonistic. I was only taking in, I wasn’t doing anything. And my family was all in California, so I thought it was time to come home.”

It was the Wright time. She was invited to be music curator at Sushi, on whose board she had served years before. That’s where Fresh Sound premiered in 2009, with the motto: “We avoid the mainstream.”

Part of that inaugural season was Pamela Z, a San Francisco performer/composer who combines operatic bel canto with percussion, spoken word, and computer-processed sounds. She’ll be kicking off the first series at The Loft, titled “Voice and Electronics.”

“I love her music, so I wanted to open with her,” Wright said.

Page:
   
-

Comments

Be relevant, respectful, honest, discreet and responsible. Commenting Rules